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, 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.

The Sundance Institute has been vital to the film communities of Latin America.

No, I worked a lot for European television, doing documentaries in Brazil.

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.

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.

I'm much more interested in living specific experiences in films.

So the search for a father in Central Station is also a search for a country.

So when I was very young, I longed for Brazil.

It was a complex endeavor so without Robert Redford's constant support we wouldn't have gotten to the end.

The Peruvian faces are completely different from that faces in Argentina and in Brazil.

And my generation in Brazil was influenced by Cinema Novo. So we're echoing what's been done way in the past.

I did documentaries for maybe 10 years before I turned to fiction films.

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.

On the contrary, I'm a strong believer in the necessity of imperfection coming into the film.

I come from Brazil, which is a Portuguese speaking part of the continent.

I went to Cuba maybe eight or nine times.

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.

We all knew the book well because it's the cult book in Latin America. For me, this was a sacred territory. I would not have ventured into it by myself.

The other aspect is that you become much more aware of the structural problems that pertain to that continent. You feel the need to act to try and solve them.

My father was a diplomat for part of his life and I jumped from country to country and culture to culture.

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.

There are still 500,000 persons afflicted with leprosy in Latin America, so it is still very much present.

A filmmaker can never be distant from his roots.

When I come to London, I always like to see what's playing at the NFT.

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 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.

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.

Only good girls keep diaries. Bad girls don't have time.

It's the good girls who keep diaries; the bad girls never have the time.

You know, some of the good part of blog theory was that blogs would be like diaries that the world could read. They would be spontaneous, whatever pops into your mind, as a diary would be.

Dark Water was one of my favourite films to shoot because of Walter. I had seen the previous films he had directed, Central Station and Motorcycle Diaries, and I thought they were great. I really trusted him.

You know, Motorcycle Diaries has no incredible stories, no sudden plot twists, it doesn't play that way. It's about recognizing that instance of change and embracing it.

I think I'm going to put together a compilation under Disney's name of my songs that I've done for them - because I've done six or seven by now! The latest was for the Princess Diaries 2 soundtrack. So that's the next thing that's coming out.

I read The Bell Jar, and then I read her memoir and her diaries, and a third book, an outside opinion. Just the way she made the pillows so neat on the oven door. It just seems to be the opposite of, if you're going to take your life, in a horrible rage it happens.

History is malleable. A new cache of diaries can shed new light, and archeological evidence can challenge our popular assumptions.

People talked to me in a way I think they would not have talked to somebody who hadn't shared the experience; they gave me their papers, they gave me their diaries. I found people constantly opening up to me. And I think they did because I had shared that experience with them.

I was too lazy to start a whole new story, so I just stuck a princess into the story I was working on... and The Princess Diaries was born!

Though my father was Norwegian, he always wrote his diaries in perfect English.

Over the last two years, I have been able to comb through The Prince's archives. I have been free to read his journals, diaries and many thousands of the letters.

But the thing I felt most strongly about, and put at the end of one of the prison diaries, was education.

Well I think after leaving prison, and having written three diaries about life in prison, it became a sort of a new challenge to write another novel, to write a new novel.

You learn from a conglomeration of the incredible past - whatever experience gotten in any way whatsoever.

I've danced one time in my life. It was the most mortifying experience I ever had.

The experience of life consists of the experience which the spirit has of itself in matter and as matter, in mind and as mind, in emotion, as emotion, etc.

My best film composing experience was with Elia Kazan.

Education is a private matter between the person and the world of knowledge and experience, and has little to do with school or college.

A novel should be an experience and convey an emotional truth rather than arguments.

By experience we find out a short way by a long wandering.