I think me and Carlos, for example, working together in practical terms in Battle in Heaven. In some way we’re very different, personality wise, but then there’s a part to everybody, to every person probably, and every filmmaker of course. That is somehow — if you’re being true to yourself, to what you’re filming, and somehow there’s some kind of grain or trace of honesty involved, there are things that are very apart from who you are somehow from your personality. And you have to nourish those things somehow, and give the space and the trust for them to come out. And I think somehow that’s what I got in part from working with Carlos in Battle in Heaven, because it was such a — it’s always a slightly difficult environment filming a movie in general, so far from what I have experienced, but somehow you have to — it’s like a fight against protecting those things. You can’t really articulate them in the set or even in the interviews, but there’s something there that is why you’re doing the movie and why you’re out there filming with these people.

And it’s very important to be not conscious of that, because I’m not really conscious of that when I’m shooting, and I don’t think he is either. We’re just trying to get through this idea that we had from before. But the seed that is there, it’s important to protect it somehow and nourish it. And somehow that’s I think what I got the most from working with him. That was very — something that I’m not sure if you learn or you can learn or anything from a film school or a workshop. It’s just something that you notice or you feel; difficult to really explain or to write down or anything, for me at least. And just working with reality, working in real places, in real situations with people that inspire you — I’m talking about the actors for example. People that inspire you very much by how they speak and talk and look, and that you want to put them in front of the camera, and knowing how that is going to translate somehow into film, because that’s something — it’s a little bit like knowing how a color will appear after certain process through film, something like that. ((Digital Revolution))

There’s also something to do with actors like that, I feel. And that’s something that I noticed in working with another director, with Carlos during Battle in Heaven. And it was very nice when he would ask me of my opinions, and I could help him however I could. I like very much to also ask people around me, when I’m filming my movies. Well, it is a collaborative effort, of course, but besides that, it’s like — I really like to involve people and hear their opinions. And I think Carlos also likes to do that. Because I think we’re very somehow also sure what we want, so therefore those ideas are protected, and one can ask anybody. ((All Happening Parallel)) And it doesn’t matter if it’s better, then you’ll know right away if it’s better than your idea, and that’s a strong point.