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.

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.

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.

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.

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.

"Filipino" is the Spanish side of our history. The islands were named after King Felipe, so we became known as Filipinos. It's a brand, it's a name. But we're Malays. Before colonizers came to our shores, we were Malays. My praxis is about being Malay - the struggle of the Malays before we became Filipinos.

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.