Story is important but the most important is the theme and how you're going to convey theme cinematically. I'm a believer also.

Historically, there is a fight between the sound designer and the composer. You see them in the mixing room and they're always fighting because the composer wants the music to be heard and the sound designer wants the sound to be heard.

You can write a whole fiction, and you're talking to people who have gone through that, in real life. But the truth of it is that when you're talking to those people, you don't care about your movie anymore. You just want to hear about what they have gone through. You want all of the details. It's amazing.

I'm very aware that the future of any film is not necessarily the theatrical experience, it's the home video experience because that is the one that is going to be presented for years to come. So you want to make sure that you push your movie, but you're talking about a movie that you finished months ago. And your head is trying to move into new grounds and you're still pushing for the other one. That's the tough element of it.

I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.

I left Mexico for artistic survival. If I had stayed, I would have been forced by the government, who control the movie business, to direct TV shows or commercials or infomercials for the government.

I'm interested in new worlds, new universes, new challenges. I always said the only reason to make a film is not for the result but for what you learn for the next one.