There is no border in my films. You can see yourself in these stories. This is the greatest thing about the power of cinema. It's very present. It's all there. You can't escape it.

I'm very fatalistic about life. Whatever happens, happens. The imperative for me is that I do my contribution for my people, for my culture. I still want to make films for them. I still want to make films that confront our struggles.

Even if I made pornography, the trauma would show, though. It will always be there because it's my verité. It's my kind of narrative, it's my kind of storytelling. It's not style; it's just there.

The novelistic attribute of my work is very much like the Russian way of creating novels. Tolstoy, Dostoyevsky - their work has so many gaps. But for the reader, you cannot erase those gaps because they are important. They contextualize the whole struggle. My cinema is like that.

I'm not hoping to see that day but I know that my cinema will reach Filipinos. I know that they will embrace it one day. It will happen. I'm very sure of that. I still have faith in cinema. I still believe it can affect change.

There is no border in my films. You can see yourself in these stories. This is the greatest thing about the power of cinema. It's very present. It's all there. You can't escape it.

I'm interested in the cultural thing - music, then eventually cinema. I think it's part of my struggle as a cultural worker. I'm not into the armed thing. I cannot be violent.