In Rio de Janeiro, every cop has to make a choice. He either turns dirty, keeps his mouth shut, or goes to war.

People can't stand it when you deal with issues of race and class, and also sometimes the church, and you give a perspective that flushes out hypocrisy.

The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.

I come from a documentary background and my natural tendency, as a filmmaker, is to make a movie, if I have something to talk about. If it's not about anything that matters, I don't feel like doing it. I'm not against people who make movies just for fun, but I'm not one of those guys. I just want to provoke thinking and debating about certain issues.

As a filmmaker, I make the films that I love, that are in my heart. That's what I care about.

The relationship between fascism and robotics, for instance, it's very clear that it's going to become way more important as time goes by.

Pretty soon we'll have robots in our society, you're going to have a lot of automated processes that used to be done by people - this is happening. Society and technology is changing so fast, and the impact of the change on society and technology is global, not local.