-The main challenge was how to go beyond what is obvious and get to the core of El Sistema. Beyond the music model, the model of social transformation has its origin in the review of antiquated educational models serving a vacuous productivity instead of men’s welfare. Theorists of education around the world consider Venezuela as the epicenter of a movement that promotes the validation of art education. Gustavo Dudamel is becoming the international leader of a movement representing millions of children who claim for an education in which the words solidarity, compassion and happiness have again a place of prime importance.

-The documentary is not about Gustavo Dudamel’s life. It is about his message. The best way to know the "soul and spirit" of someone is through the simplest art tools. I wanted to show the strength and depth of his message, and reflect his power and genius.

-Undoubtedly. There were many changes of paths, many surprises, and many miracles. I never imagined the enormous growth of El Sistema out of our borders. It greatly impressed me. As a Venezuelan I feel something similar to vertigo when I see a Venezuelan flag in the bedroom of a child who lives in a village in Korea.

-I dare say that our difficulty was sculptural because we had to shape the story into something understandable. However, I would say that the fundamental difficulty was not to limit ourselves to having the obvious, because it was enough to turn on the camera in front of a boy playing the violin on the shores of Lake Titicaca to make the excitement rise. The difficulty lied in the message we would give. I formed a group composed of writers (Jorge Chacín, Carlos Diaz and Nascuy Linares) whose mission was nothing but to get a concept and to avoid the easy path. It is not easy to avoid the easy path.

All of them. Symbolism is inevitable if we talk about the possibility of replacing an arm with a violin or an oboe. The social part is always there every time a kid joins El Sistema and becomes a member of an orchestra. Regarding the ritual aspect, what can I say? The arts are an expression of the reality; therefore it is ritual as everything that is sublime. As Oscar Wilde used to say: “A mask tells us more than a face”..

-Faith. Faith in what is possible. Faith in the present and the future; faith in our country and our way of seeing the world. The faith in the decency of our values. There is a sentence from Miguel de Unamuno (the first time I heard it was from my father) quoted in To Play and to Fight: "Only those who dream the absurd achieve the impossible." But I must tell you that this duo you just mentioned, is really an orchestra with many soloists: Eloísa Maturén, Ananda Troconis, Tony Fadel, Betty Abreu, Frank Dipolo, Pedro Mezquita, María Alejandra Guerrero and, of course, my usual traveling companions: Nascuy Linares, Jorge Chacin and Carlos Diaz.

-Many of us had to leave our country due to our engagements, but we have our homes here. That is something we have never forgotten. We have to grow up as professionals and face new audiences. It is important for us that our voice be heard beyond the Venezuelan borders.

-This film is just a new attempt to understand the System of Youth and Children's Orchestras of Venezuela that is becoming an unstoppable revolution led by children. I've always felt that my films are motivated by the need to say something, which usually has to do with social issues or epic human struggles of average people. Many times those things are just a way to reinvent myself... yes, that’s what the arts are for. The process of making two documentaries on the same topic is a fascinating challenge. When I see To Play and to Fight and Dudamel: Let the Children Play, I see more than two very different films, I also see two very different "Betos” reflected in those films. I do not think one is better than the other, but undoubtedly this new film is more mature than the previous one.

-I would define the Venezuelan fim industry with just one word: young. It has the virtues and disadvantages of youth. It also has its courage and spirit. I see it as a rebellious young person who is about to enter college and has already started to show signs of maturity. It is a young industry developed from the legacy of great visions and great works produced not only for our country but also for the Latin American cinema. In other words, our young film industry is still inspired on the strength of films such as El Pez que Fuma, Araya and La Balandra Isabel. The search goes on.