Coincidences always happen if you keep your mind open, while storyboards remain the instruments of cowards who do not trust in their own imagination and who are slaves of a matrix If you get used to planning your shots based solely on aesthetics, you are never that far from kitsch.

Here, all of a sudden, we have a revolution in - in communication, and it is - it is really, truly big. Internet is as big as the introduction of fire to the human race, or the introduction of electricity into our lives.

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.

For me, the distinction between documentaries and feature films is not so clear - my "documentaries" were largely scripted, rehearsed, and repeated, and have a lot of fantasy and concoction in them.

I do not recall to [Kim Jong-un], but it was complex. "Dear young leader of the people and chairman of the joint military commission" or something like that.

Most of the volcanoes are pretty far away. You have to go to, God knows, Alaska. Or you have to go to the Southern Indies or you have to go to a specific island.

When you look at the paintings at Chauvet Cave, they're not primitive or like children's little scribbles, it bursts on the scene fully accomplished and when you look through the faces of cultural history, art history, it has never gotten any better.