Volcanoes Quotes - Page 4

How powerful social mores are! Only a spider's web lies across the volcano, yet it refrains from erupting.

You never replace a great scholar who retires. If you try to do that, you end up with burnt-out volcanoes.

It's very strange, for example, in North Korea where the volcano at the Chinese border is some sort of the mythical birthplace of the Korean people.

Clive [Oppenheimer] and I figured out that I'm the only one probably in the film industry who is clinically sane. I say that as a joke, but there's a grain of truth to it. I'm not a stupid daredevil who jumps into the crater of the volcano to get the closest close-up, I'm not one of those. And you have to be aware that you have a crew with you and you are responsible.

A volcano may be considered as a cannon of immense size.

We have within us enormous reserves of trapped potential. Our natural urges have been so constrained by the accommodations of living that we each have a smoldering volcano just below the surface. To enable this force to erupt in a healthy, open, and positive manner is a momentous act.

Wives?" she asked, interrupting him. For a moment, he had assumed she was tuning to the novel. Then he saw her waiting, suspicious eyes, so he replied cautiously, "None active," as if wives were volcanoes.

Old religious factions are volcanoes burnt out.

Who imagined that what I said upon my departure from Beirut would become a reality, when I said the volcano and typhoon which started in Beirut will not stop.

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.

It's very enigmatic because of course, the population [of North Korea] has no contact with the world outside or it's very, very limited. They don't have any telephone connections, no radio, no TV, no movies, no newspapers - nothing from the outside world. This is very strange and there's the very strict, unifying government that forces you to be in step. You see it in the stadium where the spectators create, by flipping cards, an image of the dear leader, or of the volcano, and it's made of a 100,000 human pictures.

In the communist revolution in North Korea, when they threw out the Japanese occupiers, they claimed the power in the dynamic of this volcano for their revolution, saying that this is at the center of the dynamics of our revolution. Everything that you encounter - you don't have, for example, any advertisements, you don't have anything like that anywhere in the country - if you see anything it would be propaganda, and propaganda always inevitably comes back to the volcano. It's always including the volcano. You see the new leader and standing behind him you see the volcano.

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.

The volcano itself wasn't that interesting, but the man who refused to be evacuated - the only one of 75,000 people - was what set the tone for the film ["Encounters at the End of the World"] that we made together [with Clive Oppenheimer] ten years later.

The wonderful thing is that Clive [Oppenheimer ] insisted on training his camera - his private camera - on me at one point. We were discussing things such as how to avoid certain dangers, while reflecting on a volcano that had threatened to explode 40 years ago.

I wouldn't make a connection between the daily news and volcanoes.

Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.

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.

However, there are a couple of volcanoes very close nearby, like Vesuvius in Italy right next to Naples.

I was able to persuade them to let me shoot in areas that were beyond the volcano itself. Beyond the joint scientific program between Cambridge University and North Korean scientists. I was able to film in a kindergarten, subway, other things you would not normally be allowed to do.

Everything you see in North Korea, it's all propaganda, but it's all connected to the volcano.

It's not far-fetched that almost everywhere in the world where you have volcanoes you have mythologies or new gods being created.

We have volcanoes also in our immediate neighborhood. I wish we didn't have to travel that far. Probably the kind of magnitude and awesome raw power of them is very fascinating, and of course it's very cinematic.

As for the "anger" of the volcano, we leave it up to the local populations who create their demons, their gods and their divine punishment.

There's happens to be a volcano in the vicinity and there's some talk about a volcano as well, so that's the title Salt and Fire