On the contrary, I'm a strong believer in the necessity of imperfection coming into the film.
There are still 500,000 persons afflicted with leprosy in Latin America, so it is still very much present.
The Sundance Institute has been vital to the film communities of Latin America.
The Peruvian faces are completely different from that faces in Argentina and in Brazil.
A filmmaker can never be distant from his roots.
And my generation in Brazil was influenced by Cinema Novo. So we're echoing what's been done way in the past.
I'm much more interested in living specific experiences in films.
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.
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.
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.
I come from Brazil, which is a Portuguese speaking part of the continent.
No, I worked a lot for European television, doing documentaries in Brazil.
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.