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

As for the "anger" of the volcano, we leave it up to the local populations who create their demons, their gods and their divine punishment.

I run my own film school, the Rogue Film School, and I do it over three and a half days, eight hours non-stop everyday; alone, single-handedly. But the difference is in the Rogue Film School I do have real human beings in front of me from all over the world, and of course there's this course as well, they can ask, talk about their problems and obstacles, finances, anything, you just name it. Whereas in the Masterclass, you are speaking to cameras.

However, there are a couple of volcanoes very close nearby, like Vesuvius in Italy right next to Naples.

I'm talking a lot on financing in the Masterclass and I know what it means to because I had to finance my first films, all of them, and I earned my money as a welder in a steel factory doing night shifts while I was still in high school during the day.

You are confronted with abysses of time that are, in a way, unfathomable. You see a painting in charcoal of raindeer and it was left unfinished and somebody else finished it. But through radio carbon dating we know that the next one completed the painting 5,000 years later. You're just blown away by the notion of passage of time. We have no relationship to that kind of depth of time.

Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film.