Mexican Cinema Quotes

I'd love to make another film in Mexico.

You see Mexican cinema in festivals throughout the world, and you see Mexican directors getting recognized at Cannes, at the Oscars, in Berlin, but the question is, What is the end result of that in terms of the market? That's where it's lacking.

I would always direct my own stuff in Mexico.

I saw 'Y Tu Mama Tambien' with my mom. It was really awkward.

For me, Mexploitation seemed like something that should have existed, but didn't.

A song like 'Osito Carpintero' came straight from the Pedro Infante films, movies that all the kids in Mexico watched.

I was not aware of how much I loved 'Canoa' until I saw it after doing 'Y Tu Mama Tambien' and realized that my voice - over about the story's historical context - that narrator - came from 'Canoa'.

In Mexico, audiences want to see a big discussion around a film - what we expect from Hollywood films worldwide is more of an entertaining show. 'Y Tu Mama Tambien' was a road movie and comedy, but it had a very strong political connotation that sparked a discussion in Mexico that is still going on.

I think the three Mexican directors that came before me did a very good job in Hollywood because they came in and started directing things like 'Harry Potter.'

Inarritu's own nomination for Best Director for 'Babel' was the first such honor for a Mexican director.

What the rest of the world knows about Mexico is what they see on films and the bad news they see on TV. We need to make films that are worthy of who we really are as Mexicans. We also need to make cinema that reflects the diversity in the region, so that Americans and Europeans know who Mexicans are, who Salvadorians are, who Cubans are, etc. We need to do it, and all we really need is support because we have the talent.

Foreign audiences are used to seeing Mexico in other sorts of movies. 'Casi divas' is a step toward a more commercially successful cinema, without the violence, blood and exaggerations. The movie reflects a more human Mexico, while remaining a chick flick, although it is not a romantic comedy.

I have a real thing for Mexican directors. And I love Guillermo del Toro and Alejandro Gonzalez Inarritu.

We have a documentary film festival in Mexico. It's really original. It's called Ambulante, and it's a film festival that travels around several cities in Mexico.

I asked the producers when I was doing 'Y Tu Mama Tambien' if they could give me a VHS recording of the film that I could show to my family, because in Mexico and Latin America, when you do a film, you don't expect anybody to see it, especially not in the cinema.

Many Mexican directors are scared to shoot in Mexico City, which is why there are many stories in Mexican cinema about little rural towns, or set a hundred years ago.

I didn't know I wanted to do films until I started to do them. Very few films are made in Mexico and film-making belonged to a very specific group, a clique.

In Mexico, there are good filmmakers, but they didn't always have the opportunity to show their work. But since 'Amores Perros,' many of these filmmakers had the opportunity to show their films, and they have a newfound energy for cinema.

When I was in college, my graduation thesis was called 'Female Directors.' I interviewed all of the important female directors from Mexico. There were four. That was it.

I've done about 15 movies and four television series in Mexico. My last two movies were the highest grossing in Mexican-cinema history - 'Nosotros los Nobles' and 'Instructions Not Included.'

I understand when there's no money for the arts in the government, but it should maybe pressure private companies to support more filmmakers. These exhibition and distribution companies are huge, and there might be incentives for them to invest more in Mexican cinema.

'Amores Perros' and 'Once Were Warriors' had a tremendous visceral quality that really influenced me.