When I write and develop things myself, I might work for a while on a script from a book, and then I go back and read the book and go back into it to see if I lost something: is there something there?

I've always looked at filmmaking as a lifestyle. There is no decision of when you go to work. It's a way of life: you're thinking about scripts; you see things and think, 'That could be interesting'... I don't think about my work as, 'Today I'll work on this, this and that.' It just comes to me.

We will work on ways to digitally enhance Everest, matching it with Dolomites and Everest, but I'll do everything physically first. If there's no other way, then I'll go to CGI.

When I read it, I don't wince, which is all I ever ask for a book I write.

I don't see Hollywood as the big enemy, because this is where the money is, and not all of the companies are doing studio movies. I'm not tempted to sell out. If I'm going to become well known, I want it to be for something I'm proud of.

I consider myself more a European director who is from Iceland than an Icelandic director.