That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.

Everything that I've done was prudent and never has anyone gotten hurt in my films - not a single actor, not a single extra, ever.

For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.

In the face of the obscene, explicit malice of the jungle, which lacks only dinosaurs as punctuation, I feel like a half-finished, poorly expressed sentence in a cheap novel.

I'm reminded of an interview Larry King had on his talk show with one of Michael Jackson's sisters. He's talking about how many millions she made on her latest record, and all of a sudden, she looks at him tearfully and says, "Larry, you know, I'm not interested in money or sales or songs. I'm a spiritual person." And I thought, "Oh my god..."

There is a fascination about crime, which is understandable, but hardly anyone talks about the families of victims of violent crime and the devastation that is beyond the victim alone.

I'm a very professional man. I'm not out for the experience of adventure.