A filmmaker can never be distant from his roots.
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Also, I knew that the impact of Motorcycle Diaries was going to be so resonant for all of us who went through the experience of making it that I didn't want to do anything that could reflect it.
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Also, there are now new laws in Brazil which create incentives for Argentine and Latin American films to be premiered and distributed in Brazil and vice versa.
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And my generation in Brazil was influenced by Cinema Novo. So we're echoing what's been done way in the past.
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But I also think that the more you reason collectively about what the project should be at the beginning of the process, the more you can improvise later.
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I come from a country and also a continent whose identity is in the making. We're a very young culture, and I think that things are not yet crystallised.
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I come from Brazil, which is a Portuguese speaking part of the continent.
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I did documentaries for maybe 10 years before I turned to fiction films.
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I went to Cuba maybe eight or nine times.
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I'm much more interested in living specific experiences in films.
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It was a complex endeavor so without Robert Redford's constant support we wouldn't have gotten to the end.
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My father was a diplomat for part of his life and I jumped from country to country and culture to culture.
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No, I worked a lot for European television, doing documentaries in Brazil.
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On the contrary, I'm a strong believer in the necessity of imperfection coming into the film.
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So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.
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So the search for a father in Central Station is also a search for a country.
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So when I was very young, I longed for Brazil.
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That's why I have always admired documentaries, because they open windows that can make you understand much better where you come from, much better than fiction, I think.
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The films that I've done before were original stories most of the time, I did two adaptations before this, but they were mostly original stories where I had complete freedom to evolve in the direction I wanted.
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The necessity to conceptualise has to come very early on, and defining a vector of development for that film also at the beginning of the process will allow you much more freedom as you go along.
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