'On the Road' is a seminal book that gave voice to a whole generation -- capturing its hunger for experience, unwillingness to accept imposed truths and dissatisfaction with the status quo, ... It is as modern today as it was four decades ago.
My father was a diplomat for part of his life and I jumped from country to country and culture to culture.
It was a complex endeavor so without Robert Redford's constant support we wouldn't have gotten to the end.
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.
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 went to Cuba maybe eight or nine times.
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.
I'm much more interested in living specific experiences in films.
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.
On the contrary, I'm a strong believer in the necessity of imperfection coming into the film.
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.
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.