That Shot In "into The Inferno" Somehow

I Couldn't Roam Wildly And Speak Secretly With Villagers [in North Korea]. No Way You Could Do That. And Honestly, I Didn't Even Try. I Was Realistic Of What I Could Do And Yet Persuaded Them Into Accepting Numerous Things That I Shouldn't Have Filmed.

There Are Specific Times Where Film Noir Is A Natural Concomitant Of The Mood. When There's Insecurity, Collapse Of Financial Systems - That's Where Film Noir Always Hits Fertile Ground.

Some Of The Most Important Caves, Like Lascaux In The Dordogne Region In France, Have Had To Be Closed Down. There Had Been Too Many People Allowed In, And They Left A Mold On The Walls That Is Spreading And Which Can't Really Be Stopped.

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.

There Are Photos Of Kim Jong-un Right Up Atop The Volcano. I Actually Wrote A Letter To Him Asking If I Could Speak On Camera. I Never Got An Answer. But What Was Interesting Was The People Who Were Responsible For Us, Our "guards," It Took Them Two Days To Figure Out How I Should Address Him. "president? No, You Can't Because There's A President For Eternity." And It Was A Time When His Status Was Still In Flux. Only A Few Months Later There Was This Party Congress Which Assigned An Official Title To Him, But That Was After We Did Our Film.