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.

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.

I can easily go to America, or I can easily escape to some places in Europe with friends. But the place for me is the Philippines. The struggle is there. I cannot turn my back on it. It's a responsibility.

I make films, and festivals, museums, and academia are embracing the work. It will be heard. It's bound to happen because cinema is universal. You create it, some people will notice it, some people will watch it.

Cinema is the greatest mirror of humanity's struggle. You see this alternative world, but you're part of it. Everybody is part of it. This is our world.

There is no border. I'm branding my films as Malay cinema, but it's just about cinema. Everything that I make is about humanity's struggle, so there is no border, really.