The paintings are not just on flat walls - you have these enormous niches, bulges and protrusions, as well as stalactites and stalagmites. The effect of the three-dimensionality is phenomenal. It's a real drama which the artists of the time understood, and they used it for the drama of their paintings.

When you look at any of my films you will immediately be able to tell this is a [Werner] Herzog film. Even if you didn't have any credits, in two minutes flat you would know.

If you want to propose marriage to your girlfriend and you live in England and she is in Sicily, do the decent thing and walk down there. Travelling by car or aeroplane wouldn't be right at such a moment.

It's curiosity, and always a sense of poetry. You see it in particular in the chapter "Iceland" where I'm reciting ancient Icelandic poetry. It has this very beautiful gravitas in conjunction with the volcanoes.

A fairly young, intelligent-looking man with long hair asked me whether filming or being filmed could do harm, whether it could destroy a person. In my heart the answer was yes, but I said no.

If you go to Florence, it has all surface beauty, but like Venice, it's simply a museum of Renaissance times. Los Angeles is raw, uncouth and bizarre, but it's a place of substance. It has more new horizons than any other place.

If the part is really good of course I would like to do it.