Award winning director Alejandro Monteverde‘s latest film is a powerful story that explores the meaning of courage, and the will to challenge the impossible. After early success at the Toronto Film Festival with “Bella” in 2006 and being hailed by the industry, Monteverde took time to find his next project. “Little Boy,” opening Friday, April 24, is the result of several year’s of hard work. Set during the height of World War II, the film stars Michael Rapaport, Jakob Salvati, Emily Watson, Ali Landry, and Eduardo Verastegui; and is produced by heavyweight TV and film producer Mark Burnett.

The film centers on a little boy, Pepper Flynt Busbee (Jakob Salvati), who is willing to do whatever it takes to end World War II so that he can bring his father home. Through his struggle, Pepper learns the value of self sacrifice (at times hilariously depicted) the importance of racial equality, and many lessons in between.

 “Little Boy” director and co-writer Alejandro Monteverde was born in Mexico. He took the top prize at the 2006 Toronto International Film Festival by winning the “People’s Choice Award” with his first film “Bella.”

HOMBE: What inspired you to tell this story?
Alejandro Monteverde: In the beginning I was just searching for a great story. I wanted to tell an underdog story and that’s how I came up with “Little Boy.” I realized that a child is the ultimate underdog. They are not self sufficient, and if they have challenges in their life they have very limited resources to face those challenges. But one of those resources is something we lose as we get older, and that’s your imagination and the power to believe. And in this case, the will to believe and the courage to overcome the impossible.

H: What were the challenges you faced in making this film?
AM: When I made this movie everyone told me it’s impossible. It’s a period piece, it has a child as the lead, the first budget came in at $60 million. No big stars. It was a very difficult journey but all this is part of the story. I’ve always been an underdog myself. Being Mexican, coming to this country, I’ve always faced challenges. That was one of the inspirations.

H: Why set it in the Forties?
AM: I wanted to explore the world of the Forties through the eyes of Norman Rockwell. When I was introduced to him I really fell in love with all the magic and all the colloquialism. It has some resemblance to the spirit of Mexico. Also the whole name of the film is little boy and that plays a big role in the film. This little child facing the biggest challenge of World War II. I took the Norman Rockwell paintings and recreated them and built an entire town around them.

H: What research was made for the film?
AM: It took three years, it was a long process. We did a lot of research but it was fun. It was exciting. It looks like a simple story, but as I started writing it I saw all the complexities. The theme of the film is magic realsim, stretched reality. But we were dealing with sensitive elements. Exploring the power of faith versus superstition. Little boy has two mentors, one is a priest, the other a Japanese man who is an atheist. They both help him to conquer and go through his journey, to achieve the impossible. It explores a lot of things through an objective point of view. A tale for adults that children will like. Characters that are bigger than life.

H: How did Mark Burnett become involved?
AM: When we had the first rough cut he saw the film and really connected with it. He gave us some notes, we applied them, and it really took the film to the next level. We didn’t have distribution, once he came on board we got distribution.

H: How was the casting process to find the ‘little boy’?
AM: I knew that I could not make a mistake in the casting of the boy. I saw over a thousand kids. I actually gave the role to another kid, but I woke up in the middle of the night and told everyone I had made a mistake. I saw this kid (Jacob Salvati), he came in with his brother. I saw him, he was six, never acted. But he had it. I worked with him for two days, he came for the audition and nailed. It was just meant to be. He carried the movie powerfully.

H: Why was it important to write your next film after winning the Toronto Film Festival?
AM: After “Bella” I spent a year reading scripts. But didn’t connect with anything. So I just started writing. I compare making a movie to getting married. There are a lot beautiful women, but you only marry one. That story you’re making you’re going to marry, spend years making it, so you’re really going to be vested in it. It takes a toll on you but it’s totally worth it.

H: What advice would you give someone to overcome obstacles similar to the ones you faced?
AM: There’s a line in the film, little boy is trying to move this bottle and a magician tells him, ‘Ignore the world.’ When people tell us it’s impossible, we will believe it. But if we ignore it and follow our dreams we could achieve it. The problem is if you listen you will not achieve it.

H: Who did you admire as a kid?
AM: My father, my parents. Family is the foundation of our society. Right now we are the product of a lot of dysfunctional families and we all have to deal with that. But just because it’s dysfunctional it doesn’t stop being a family. This is a good movie to see with your family.

H: Why should audiences see this film?
AM: It takes a lot of courage to believe. The movie reminds us it’s our journey. It’s a powerful film. Every time I see it I come out with something. Believe in the impossible, they’re going to laugh, but if you achieve it they’ll stop laughing. Ignore the world and focus.