The novelistic attribute of my work is very much like the Russian way of creating novels. Tolstoy, Dostoyevsky - their work has so many gaps. But for the reader, you cannot erase those gaps because they are important. They contextualize the whole struggle. My cinema is like that.

When I was trying to create this so-called Lav Diaz verité, it just happened. At some point, I became very comfortable with the one frame, with the single take. It just happened. I didn't plan it. I was looking for my own aesthetic, my own perspective, my own voice, and it happened.

I'm not hoping to see that day but I know that my cinema will reach Filipinos. I know that they will embrace it one day. It will happen. I'm very sure of that. I still have faith in cinema. I still believe it can affect change.

Filipino is the Spanish side of our history. The islands were named after King Felipe, so we became known as Filipinos. It's a brand, it's a name. But we're Malays. Before colonizers came to our shores, we were Malays. My praxis is about being Malay - the struggle of the Malays before we became Filipinos.

Cinema is the greatest mirror of humanity's struggle. You see this alternative world, but you're part of it. Everybody is part of it. This is our world.

I make films, and festivals, museums, and academia are embracing the work. It will be heard. It's bound to happen because cinema is universal. You create it, some people will notice it, some people will watch it.

There is no border. I'm branding my films as Malay cinema, but it's just about cinema. Everything that I make is about humanity's struggle, so there is no border, really.

I'm very fatalistic about life. Whatever happens, happens. The imperative for me is that I do my contribution for my people, for my culture. I still want to make films for them. I still want to make films that confront our struggles.

Even if I made pornography, the trauma would show, though. It will always be there because it's my verité. It's my kind of narrative, it's my kind of storytelling. It's not style it's just there.

I'm interested in the cultural thing - music, then eventually cinema. I think it's part of my struggle as a cultural worker. I'm not into the armed thing. I cannot be violent.

There is no border in my films. You can see yourself in these stories. This is the greatest thing about the power of cinema. It's very present. It's all there. You can't escape it.

I can easily go to America, or I can easily escape to some places in Europe with friends. But the place for me is the Philippines. The struggle is there. I cannot turn my back on it. It's a responsibility.