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.

Each film has its processes. It doesn't mean that all animated films have to be like "Boy and the World," but creators have to have total freedom. There are films that are born with the purpose to sell. They are still admirable films with great artists and great visuals, but we wanted to use a more radical approach to create art. That's what we tried to do.

That was a very natural process because as I was creating the animatic I added music clips as reference of the kind of music I wanted in the film. These were from musicians like Naná Vasconcelos and Barbatuques, the body percussion group.

It's a film made in a very radical creative manner. It was possible because we didn't have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It's a film [Boy and the World] with sensitivities completely opposite to what the market wants to sell.

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.

A little bit more than 50% of what you see on screen is handcrafted and the other 50% was about emulating these textures on the computer. However, for us, when we were making it, we had to believe it was all handcrafted.