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.

Everybody else is going to react differently to the film [Aquarius], but what I love about it is that both men and women are going to react to it because they will find themselves represented.

It always surprises me when I see the director's versions of films released separately, long after the film's theatrical run.

It makes sense that somebody told you that you made the film from your perspective as a father.

A reporter told me it is very rare to see a woman of my age in the movies. Right! In the movies! But they have been for so long in very serious and important positions in life: scientists, prime ministers, candidates to be the president.

I think the relationship [in Aquarius] with her nephew shows that she's not nostalgic. She just wants to preserve what is important to her - her records, her books, even some furniture. She doesn't want to leave that house because it is her home. That is where her kids were born. After moving so much in my life, I was touched by Clara's need to stay in that apartment. I love her life, and that may be why I connected to her so strongly. We are the most alike when we are fighting for our rights.

The movie [Aquarius] is about love, ultimately, and it was made with love. There were a lot of parents in the crew, and they were the best crew I had ever worked with. Everybody knew the construction of each scene, and were completely invested in every shooting day.