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Similar thing until today, with digital cameras you look after something like that as robust as they can be.
What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.
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.
North Korea is not an exception. Even there, where you think it would be completely sober, they have the myth of their revolution being connected to the volcano.
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.
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.
Perhaps I seek certain utopian things, space for human honour and respect, landscapes not yet offended, planets that do not exist yet, dreamed landscapes.