How can I make a movie about the violence of the police if the police aren't going to let me film it?

In Rio de Janeiro, every cop has to make a choice. He either turns dirty, keeps his mouth shut, or goes to war.

I love the sharpness and political tone of RoboCop and I think that such a film is now urgently needed.

We make violent cops, we make violent criminals, and no wonder we have shootouts in slums all of the time.

The relationship between fascism and robotics, for instance, it's very clear that it's going to become way more important as time goes by.

Either you look back and deal with your hypocrisy, or you dismiss it.

I think the media needs a little criticizing now, as it did in the '80s, don't you?

Television is so cool. Television is proving that we can be sophisticated and that people will watch, if it's good.

I don't actually like blocking actors. I prefer giving actors freedom. They don't have to step on a precise mark with me. Instead of giving marks to the actors I like to give marks to the camera.

As a filmmaker, I make the films that I love, that are in my heart. That's what I care about.

Well, I'm not that popular with the politicians, I have to say.

Don’t waste your time with explanations: people only hear what they want to hear.

I was 18 when I started. I was hanging out with some friends and they asked if I had tried stand-up before. I hadn't, but I thought: 'What the hell?' So I went to an open mic night, and I liked it.

Dumb as a drum vith a hole in it, sir.

We do not mark out any precise line to be followed in diet; but we do say that in countries where there are fruits, grains, and nuts in abundance, flesh food is not the right food for God's people.

This was real. And it was me. I had lived that life, and I had died that death. I was staring at the very end of me.

I may not be the lithest, the most talented, or have the fastest time in the field, but I have passion and courage, and sometimes that is enough to do something extraordinary.

The stories that are too personally vulnerable to write are the ones that must be told.

I think the conventional wisdom is vastly true. There will be a huge growth in mobile, and this is something we are witnessing every day.

I use images as signifiers that point to layers of history, lost communities or a latent collective whispering within a certain context.