“Every time, I try to make something different.”

Everything was happening all the time. You never needed television.

When you kill somebody in the movies, it matters, whereas in literature it can be allegorical.

Every ten years there is a new generation of actors.

I’ve been following what’s happening in Colombia because it’s the country of my childhood.

I chose to treat the homosexuality like I would treat any other form of sexuality.

Colombian humor is very black, very sarcastic.

Hallucinatory – that’s just the way everyday life is, in Colombia. All the time, you say to yourself, did I just see that?

I’m interested in people who are not exactly the middle way, or who are trying something else because they cannot prevent themselves from being different, or they wish to be different, or they are different because society pushed them away.

I’m trying to capture something more fragile than a regular story. I love what people bring me.

I’d done a few short films before and thought acting was really creative, but when I worked with those guys, I was just like: “Wow!” They had such fun and freedom. They were trying things and stretching themselves. It was so inspiring that I was like: “I definitely want to do this!”

I don’t try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers.

We also want to try and slow down all this foolishness that’s going on between the East and West.

It’s just that song, and I’m trying to really sound like what the song is about.

We try to avoid the single-building syndrome. You have to look at the big picture. If you try to put social and cultural development ahead of economic development, it doesn’t work. You have to do it all together.

I see all these students, and I admire them – they’re trying to learn something, they go to school, they do film school, they go on shoots, they help.