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

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.

I became hooked on the idea of being able to shoot an image and process it myself, and end up with a product.

At the end, the realization is that she had to get to a place in her life where she could drop her guard and make peace with the fact that whether she had a small amount of time, that she had to kind of live it completely through, instead of living by the rules.

All enterprises that are entered into with indiscreet zeal may be pursued with great vigor at first, but are sure to collapse in the end.

I don't write drafts. I write from the beginning to the end, and when it's finished, it's done.

Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.

They haul you up there for, you know, week after week in this kind of star chamber proceeding. Then at the end of it they say, well, we found nothing, but now it's time for special counsel.

The difference between talking on your cell phone while driving and speaking with a passenger is huge. The person on the other end of the cell phone is chattering away, oblivious.

Madame, all stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you.

The big battle at the end of DW isn't drawn from history, but it's influenced by history, certainly.

Every new beginning comes from some other beginning's end.

I did know that the book would end with a mind-boggling trial, but I didn't know exactly how it would turn out. I like a little suspense when I am writing, too.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there.

Pacifist propaganda and the resolutions of the parliamentarians encouraged such treaties, and toward the end of the nineteenth century their number had increased considerably.

Will Arnett is one of the funniest guys I know. He has seen it all and done it all and come out the other end pretty savvy and pretty strong.

I'm the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime.

A liberal knows that the only certainty in this life is change but believes that the change can be directed toward a constructive end.

Philosophy begins in wonder. And, at the end, when philosophic thought has done its best, the wonder remains.

Towards the end of the Lord Chamberlain's era, when his hold was being loosened, private prosecutions began to happen. A member of staff at the Royal Court ordered to stop the play, and the police were brought in.

A palindrome is a word or pattern that instead of developing in different directions it folds in on itself so that the beginning and end mirror each other, that they are the same.

All wars come to an end, at least temporarily. But the authority acquired by the state hangs on; political power never abdicates.

The 20th century taught us how far unbridled evil can and will go when the world fails to confront it. It is time that we heed the lessons of the 20th century and stand up to these murderers. It is time that we end genocide in the 21st century.