Like all disciplines where information is shared and work contributes to their advancement, cuisine should be no different. The kitchen is our life, and we are available to share. We want to share our work so that future generations can cook and create a more efficient, easy and unquestionable quality.

I use the kitchen as a pathway to achieve this happiness.

We need to think about what cooking is, what context it takes place in and what its relationship to the world of art is. If there were criticisms of my presence at Documenta, that's a good thing because it means we were doing something new. Your mission in creating something artistic is to produce something new and polemical.

El Bulli was created by 2,000 people that passed through it. And we didn't know that something big was happening. It was like a game in a way. You didn't really know how it was going to end up, and people who would leave, they would take a piece of it with them, but they would leave another piece behind.

In my early days, I copied the great French chefs, like most chefs do. Copying is not bad. Copying and not recognizing that you are copying is bad. For me, when I go to a restaurant and am served a dish influenced by something we created at elBulli, if it's well done, it makes me extremely happy.

You need an entire life just to know about tomatoes.

There are a lot of products still to be discovered in the world and experimentation, for example with seafood and fish. There are thousands of products that we're not eating right now that maybe will be cultivated in a good agriculture situation, a sustainable, ecological way. Maybe there will be textures or flavors we hadn't even thought of. In the Amazon there are 400 fruits that are not cultivated right now. They're just incredible fruits. Textures, tastes that we don't know right now.