I was always storytelling, since I was a child. I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.

When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.

The Flower of My Secret is definitely more based in true emotions. I also wanted to make something more realistic, but not naturalistic or simple.

I don't want the director to have to make any decisions except to say "action" and "cut."

When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.

When I was very young, I was already a fabulador. I loved to give my own version of stories that everybody already knew. When I got out of a movie with my sisters, I retold them the whole story. In general they liked my version better than the one they had seen.

I am partly not conscious of structure with my movies, but this is when I am writing. I leave my mind very free, and then I correct it after.