Making a film from the point of view of a young boy's eyes opened the door to another universe with lots of freedom and to explore a new dimension. This was achieved as I started doing things that were close to what exists in a child's universe.

We were in another planet and we were reaching for something closer to a fable. It was something fabulous. I started looking at the film as if it happened in another planet and that allowed me even more freedom.

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.

Looking through a child's eyes and knowing this was another planet, we decided to design the machines with eyes and bodies like animals, we also decided that this planet has two moons, and we decided that anything else we wanted to do was allowed. It was a new perspective to make the film.

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.

The way a film is made tells you about its message. The processes are the same as the products. We made the film starting from processes that allowed us to find these complex ideas.

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.