Meanwhile it's got stormy, the tattered fog even thicker, chasing across my path. Three people are sitting in a glassy tourist cafe between clouds and clouds, protected by glass from all sides. Since I don't see any waiters, it crosses my mind that corpses have been sitting there for weeks, statuesque. All this time the cafe has been unattended, for sure. Just how long have they been sitting here, petrified like this?

The universe is not harmonious: you know that by looking outside.

Well they are very frightening for me because their stupidity is so flat. You look into the eyes of a chicken and you lose yourself in a completely flat, frightening stupidity. They are like a great metaphor for me... I kind of love chicken, but they frighten me more than any other animal.

It doesn't matter whether you shoot on celluloid or on digital, you better make a good film.

[Tim White] always spoke about his work in terms of forensics, as if he was investigating a crime scene. While we were there, they found the fossilized excrement of a lion that had turned into stone, and we would immediately start to concoct stories. Was it a lion that killed the early human? Of course, the lion could've been there three weeks later, or maybe 20,000 years earlier.

I am someone who takes everything very literally. I simply do not understand irony, a defect I have had ever since I was able to think independently.

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.