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

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.

If you look around Brazil you see pregnant women everywhere. Here you don't see that as much. There the only thing they do is babies, babies, babies! Especially the poor families.

Brazil - they're so good it's like they are running round the pitch playing with themselves.

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

In '82 Brazil showed that you can't win the World Cup without a solid defense.

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.

Four years ago maybe we thought we were inferior to Brazil, subconsciously we didn't see ourselves beating them. Now we believe in ourselves, we can be on the pitch with any team in the world and think we can win.

You can eliminate, for example, a Brazil nut gene if you know that it will create an allergenic effect.

I based in Brazil, Sao Paulo, but I come very often to the states, and I travel all over the world.

Because of my Portuguese heritage, I have an interest in all of the instrumentation that comes from Portugal and Brazil as well.

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

So the books have a greater appeal to a British audience, but that hasn't stopped them making best-seller lists in places like Brazil, Japan and at least a dozen other countries.

Banks' beer. There's nothing like it! To Brazil. And to Barbados justice.

That makes me think of the 2002 World Cup Final above all else. Nobody thought at the time that our team would get through to the Final against Brazil. We should remember that this summer.

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

Everybody likes Brazil and we want the Brazilians to come out.

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

I'd like to go to Brazil I think. Do a little South America trip.

The match against Brazil was football at its best. Both sides had opportunities to win the game.

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.

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

My parents were missionaries - I was born in the States but I grew up in Brazil.

This part of Brazil offered the curious spectacle of a great evil, which has been long suffered to exist and is now advancing, gradually yet surely, to that state which must entail inevitable destruction on the existing Government of the country.