FAZER UM FILME NO BAIRRO DAS FONTAÍNHAS NÃO IMPLICA FILMAR APENAS
And sometimes I feel I have to do some things also. I try to organize this sort of cinematheque, videotheque for the young kids. Because I have communications I try to ask all the DVD editors to get me whatever, not only cartoons or films, like Chaplin films, Buster Keaton or whatever. It’s quite important because it’s a tough job. They start seeing films with guns and stuff very early so if you try to show them some Chaplin films, it probably changes something when they encounter something they are not used to. And all sorts of things. I’m of course, there, if there’s a marriage and I will be there filming the marriage.
SOBRE AS DIFERENÇAS ENTRE UM FILME RODADO EM CINCO SEMANAS E UM FILME RODADO EM ANO E MEIO
In five weeks, you talk about everything except the film. You talk about girls, cars and money (laugh) like in every shooting and you just hope it’s over soon. When you spend a year and half with the film, you are just there and life is much more together. You have lots of other things. You have people who are born, people who die (laugh) and seasons change. So the film becomes, really, almost organic. You don’t really think about the film. Or you think about the film and life at the same time. So it’s good.
O ESPAÇO ENTRE QUEM FILMA E QUEM É FILMADO
You cannot have this fusion. So I think it’s better to think that there is a space, that there is a difference, a distance between two human beings. And this is good. This is what creates possibilities. It’s possible for us to live together because there is a space here. And this space thinks and works. It’s the space that makes you think, that makes you work.
TRABALHAR COM COISAS QUE TÊM A MESMA ESCALA QUE NÓS
The majority of films done today, especially the American films, you see sounds, images, but they are not of this world. It’s okay, but I prefer to be in this world. Because, my tradition is still in what I’m telling you about. A very simple image of what exists. That should be cinema. It is the only chance to survive. To keep cinema in the streets, in the small shops, and small houses, with small people.
A PRIMEIRA MOSTRA DO FILME É PARA ELES (COM ELES)
The first screening of the film is for them, and a lot of people come, of course, and it’s amazing. Everything is the same, but first screenings are a bit like what you imagine what films were like in the beginning, and all the people are there, and they are shouting, saying, that’s my friend, and my cousin, and they comment. They say, oh yes, you are right, what people used to do in film theaters.
A RELOCAÇÃO PARA AS CASAS OFERECIDAS PELO ESTADO
They never opened doors, at least before. And I do not remember a key. Never. An idea of a key was nonexistent. In Fontainhas, the public space and private space was undetermined. Like you see from this room, a room could be square, and a street could be very mysterious, as well as a house, a corridor, so the old space was very interesting, like a village. It’s exactly like the old system of an old African village, maybe an old Japanese village, from the way the space was built. And now they have other problems, they have city problems where they still can’t identifiy.
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