I always told my team, "You have to believe that you are not in front of a computer, but that your canvas is a piece of paper. You have to believe this even if you have a computer in front of you."

Is as if the music is another character or as if it was a part of this great opera. I also through about this project as a structure or as a sculpture made out of colors, rhythm, characters, and brush strokes, but with every single one of these always supporting one another.

I feel that joy is the basic emotion of life and of human beings. It's what supports everything. We are here to be happy. We are to enjoy "alegria."

From what type of software could help us make a movie faster to everything else regarding the textures. Some might think, "It's probably very easy to make a film with those textures," but it's much more difficult than what it appears to be. We had to discover a faster process because otherwise it could have taken us 10 years to make it.

They didn't need to be specifically South American or Latin American. Instead we discovered we were talking about human beings in general. We realized that these are not issues only pertinent to Latin America: poverty, misery, consumerism, etc.

The film [Boy and the World]gave me the possibility to create a new language. Animation is a very rich medium but hasn't fully been exploited by artists. Often artists are trapped by words.

I draw things on the paper very freely but believing there is meaning to them already. There is already meaning in the colors, I don't need to be guided by words. I draw them and the meaning comes after. Every time we would start a new sequence we would change everything.