Any movie that has that spirit and says things can be changed is worth making.
The more opinions you have, the less you see.
Film is a very, very powerful medium. It can either confirm the idea that things are wonderful the way they are, or it can reinforce the conception that things can be changed.
I must drive around a bit in this country before I have the right to make a film here again.
The culture of independent film criticism has totally gone down the drain and this seems to come with the territory of the consumer age that we are now living in.
Any film that supports the idea that things can be changed is a great film in my eyes.
Cinema is a worldwide phenomenon.
As proud as I am of European cinema, the way to make it survive is not to make it an endangered species but to put it out there in the world.
In fact, it is amazing how much European films - Italian, French, German and English - have recovered a certain territory of the audience in their countries over the last few years.
The Cuban people have an amazingly strong and unbroken spirit.
So I am getting a little bored with defining one type of film as American and the other European or from somewhere else because the division is no longer true.
But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.
Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.
What is generally referred to as American-style films are, in fact, studio productions.
In the late 1980s the amount of German films was down to four or five percent of the market, and the remaining 95 percent were American. It is now 20 to 30 percent German productions.
Ibrahim tells his story without a grain of complaint, and this was true for all of the band members. This is very much part of the Cuban spirit and soul.
I'm getting a little bored by the juxtaposition of American and other cinema. I no longer think this division is as true as it might have been in the 1980s, or the early part of the 90s.
Movies are something people see all over the world because there is a certain need for it.
Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.
Most journalists today work for the film industry and not as a sort of mirror of the industry. And that phenomenon has struck the French as well.
Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
Every kid in Cuba knows what the dollar is worth, it is the other currency and there are many things you can only buy with American dollars.
Take opera for example - to go to the opera you have to dress up in a tuxedo and pay lots of money.