Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.

We did receive some questions about the film's [Aquarius] sexuality in Cannes, but they came from the press rather than audiences.

The rating [of "Aquarius"] was eventually brought down to 16 after the third appeal. Everything blew up after the second appeal because the press picked it up and spurred suspicions of persecution.

When I wrote the script [of "Aquarius"], it seemed to hold people's interest.

When you actually see it, it is quite strong, but there's nothing really pornographic about it. They are high-impact yet very short moments of sexuality, which makes it very confusing for the censors. If censors were merely human beings who watch a film ["Aquarius"] and come out with a conclusion about what they saw, then there wouldn't be a problem.

When I talk to [my kids], I remember my father talking to me, so it's understandable that I would make a film like "Aquarius." A very good friend of mine saw the film, and she said it was clear that it had been made by someone who had just become a father.

To be naked or even making love in a scene to me is very important if this is a movie about a couple or sensuality. It's a sort of moralism to think that this shouldn't be seen in the film.