I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.

Similar thing until today, with digital cameras you look after something like that as robust as they can be.

I do have a clear vision, and I do see things that are existing in my quote-unquote spirit, but that doesn't necessary make me a very spiritual person.

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.

I have been in lots of very intense life situations. I have been shot at, and I have been hungry, and I have been in solitude, and I have also briefly been behind bars. So in a way, I know the heart of men.

The danger is to stupidly believe that depicting facts gives us much insight. If facts were the only thing that counted, the telephone directory would be the book of books.

I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.