I think the water dictates how food will taste in a country. In England the apples taste unlike apples grown in any other place. England is an island, there's a lot of salt in the air and in the water. I think that has something to do with it.

It's not easy to act, but to direct to act. It goes form one place to the next. It's not heading for the punchline, and also it's not about scoring goals. It's about passing the ball, and the goals will come by themselves.

I want to do work, but I also want to have a good time.

In terms of work, obviously acting is such a job that is very in the flesh kind of thing. It's your work, but it's your life, in a way. You can get so mixed up.

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.

Alexander Gonzalez Inarritu is a great director. He's the one I first worked with. He's amazing.

Texas is a country in its own. It's made up of half Mexico/half United States but completed mixed. I don't mean to draw a generalization but it is a place, a territory, that's really made up of all these encounters, you know?

Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.

I was asked to go to Cannes to present Amores Perros. And little did I know that this film would be huge. I saw it for the first time in Cannes, and it was the first time I'd seen myself on such a big screen. And it had a huge impact on me - it was the strangest feeling.

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.

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.

I go with the flow. Whatever music you play for me, I'll dance.

In English, I'm a little bit limited. I speak English as a second language, and that's a little limitation that I have to work around and I have to use it to my favor. So, yes, that's why I end up wanting to do more things in Latin America.

Let's not give the electoral process so much importance. We have to be cynical about it. Let's give importance to the real democracy that's constructed on a day-to-day basis. That's my hopeful perspective on it.

Every democracy is constructed day-to-day. And the electoral process reduces and minimalizes every single aspect of human complexity. We're putting it into pamphlets. We're doing a publicity show. We're becoming symbols.

Recently I've been doing risottos. Some of them have been amazing. Some of them, not all of them.

In a comedy, after the day is done, you can figure out ways of how to make it even funnier for the next day. In dramas, it's very different - the mindset that you're in.

The collective experience of watching a great film together in a room is a transcendent moment that will never die.

In Mexico, theater is very underground, so if you're a theater actor it's very difficult to make a living. But it's also a very beautiful pathway to knowledge and to an open education.

Theatricality is a concept. It's not a specific language.

I always laugh a lot when I see the dramas that I end up doing. I see myself behaving very seriously and I'm like, 'What is this?'

Talking about food is like talking about your dreams. Everyone has something to say. We all have to eat, it's just what we eat which differs. Some people eat for fuel and I feel bad for them.

My mom had me when she was 19 or 20. And my father was 22 or something. They were working on whatever they could, both of them aiming to be actors in theater.

We all have a cross-gender character: Every woman has a man that they can play, and every man has a woman that they can play.