So the search for a father in Central Station is also a search for a country.

My father was a diplomat for part of his life and I jumped from country to country and culture to culture.

I come from a country and also a continent whose identity is in the making. We're a very young culture, and I think that things are not yet crystallised.

But I also think that the more you reason collectively about what the project should be at the beginning of the process, the more you can improvise later.

Also, I knew that the impact of Motorcycle Diaries was going to be so resonant for all of us who went through the experience of making it that I didn't want to do anything that could reflect it.

The necessity to conceptualise has to come very early on, and defining a vector of development for that film also at the beginning of the process will allow you much more freedom as you go along.