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.

We discovered this halfway through the process. When we started making the film there were some lines of dialogue in Portuguese, but we then changed our minds. The film started from very specific issues in the world, in particular Latin America, but halfway through the journey we felt the necessity to have more universal ideas that were not so specific.

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

I tried to exploit such freedom to create those drawings like if I was a boy. I tried to draw with that freedom and that love that I remember from being a child and spending a day drawing without worrying about whether what I'm drawing is real or strange.

We were breaking away from anything that linked us to this world, but by doing that those ideas remained even stronger. Fables represent the basis for what I wanted to say about human beings.

The entire time I was following the feelings experienced by children, so the feeling of not understanding what adults say was very important to put the audience in this frequency to understand the world through his eyes.

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.