I just wanted to show the migrants as complex humans with flaws and weakness, with good and bad things, and show that they're parents and family men. I wanted to show them with everything, as they are.

As a sensitive filmmaker, I think you have to really be careful in how you explore it. Not that you can't tell any story you want - I'm not calling for censorship or anything. But if you're going to have violence, I think it's important to deal with the consequences of that on a human level, not just to make people laugh.

I saw what I could [in Mexico City], but we rarely got anything other than big, mainstream American films.

I like to make films, but the only reason I do is because I'm a very bad musician.

Life and death are illusions. We are in a constant state of transformation.

I made commercials for corporations like Volkswagen and Coca-Cola, but I was always the one to write them, too, which was a very good exercise, because I learned to tell little stories.

I was a street kid, basically. But really, Mexico City has always been this big, complex monster of a city that has always had real problems and needs, and I've always found my way through it in different ways.