Retratos Fantasmas: Kleber Mendonça Filho revela o seu processo criativo para montar um documentário

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Transcript

00:00 That's why I sat down that afternoon to write a dialogue.

00:04 And in the dialogue, the clouds of the sky opened and the light descended.

00:08 And I had this idea of the driver who disappears, who has superpowers.

00:13 The city transforms every year, that's right.

00:22 A cinema can be a space of kindness.

00:27 As the "Fantasma" portrait has many years of history,

00:31 I was thinking about the process of the puzzle to assemble it.

00:36 When did you understand that there was going to be a movie?

00:39 What kind of emotions does a filmmaker go through in such a long process?

00:44 Actually, that's the big question.

00:46 When you're making a movie, I'm starting to make a movie.

00:50 If this is interesting enough to result in a movie.

00:54 Over the years, I've been revising materials and making notes.

01:00 I've always liked the material of the Art Palace,

01:03 made in VHS by myself, in 1990, between 1990 and 1992.

01:07 That is, 30 years ago. It's hard to believe.

01:11 I've always had a lot of photography, since I was a teenager,

01:14 I've always photographed a lot, 35 minutes.

01:16 But then it brought a lot together.

01:18 The desire to do something about the cinemas,

01:21 the idea of the cinema as a space that lives together,

01:24 the center of the city, the changes that happen in the city.

01:27 These are changes that happened in all the cities.

01:31 All the cities in the world, let's say, governed by capitalism.

01:36 All these cities. São Paulo went through the same kind of change.

01:41 São Paulo lost, I would say, all the big rooms in the past.

01:47 I'm very critical of the city of São Paulo,

01:51 in the sense that São Paulo chose not to keep any of its big rooms.

01:55 This is a very remarkable thing for me.

01:58 There is a lot of money in São Paulo.

02:00 And I think it ends up being a decision.

02:03 You keep a... Marabá was divided.

02:08 These are rooms that were not abandoned over time.

02:12 So when you think about the theme, you look for more material

02:17 and you get the idea that maybe this is a film that deserves to be made.

02:22 Cinema as a church.

02:24 Cinemas that died and came back as temples.

02:28 I was also thinking about how the change of space in the cinema,

02:34 from the street to inside the mall, or even inside the house,

02:38 if we extend it a little more,

02:40 also influences our habit of consuming, our experience of entering the movie.

02:46 What kind of movie do we watch? How do you see this?

02:50 This is very strong for me, because you pay attention to the way,

02:55 not only the city, but the market tries to dominate it.

03:00 The market tries to train you in a way.

03:04 When before you had a life much more in the street,

03:10 the relationships of living were much more mediated by the street,

03:15 the street cinema, the theaters and the stores.

03:18 And from 40 years ago in Brazil, in Latin America,

03:22 the street relationships were transferred to private spaces,

03:26 which are malls.

03:27 And there is a change of behavior too.

03:30 There is a change in the way people look at the city itself.

03:34 If we are not careful, our foot no longer touches the street.

03:37 We leave the house, and you almost no longer have a relationship

03:42 with the idea of an open city.

03:45 The city becomes a closed city.

03:47 So I think the movie is about that too.

03:51 Good evening.

03:52 Good evening. How are you?

03:55 About the last scene of Uber, I think it leaves many interpretations open.

04:01 For me it was a very literal thing.

04:04 But I wanted to talk to you about the process of building this scene

04:07 and if it was easy for you to stand in front of the camera and talk.

04:13 Was it very long? How did it happen?

04:16 No, we filmed very quickly.

04:18 We filmed between 7 and 6 at night and 2 in the morning.

04:23 And of course I was anxious because I was very afraid of being a "micro".

04:29 I couldn't do it because organizing a film like that is expensive.

04:33 You have equipment, you have people's time,

04:35 you have very sophisticated cameras, and light, and the presence of Uber.

04:40 So I was a little worried if this was going to work.

04:43 So that's why I sat down that afternoon to write a dialogue.

04:47 And then in the dialogue, the clouds in the sky opened and the moon descended.

04:51 And I had this idea of the driver who disappears, who has superpowers.

04:56 And I really like how the scene turned out.

04:58 For us who have already watched several of your films, it was very nice to see them again.

05:05 I was thinking about how it was for you to return to your work after a while.

05:12 Does your vision also change a lot about the things you've done?

05:16 Not yet.

05:17 Maybe Inger, my first short film, which got more attention,

05:22 maybe I think it's a little strange, sometimes a little hysterical, I don't know.

05:26 But in general I have a very good relationship with my films.

05:29 Sometimes I have the feeling that I never left them behind.

05:33 I'm always thinking about them, in a good way, I hope.

05:36 [Music]

05:52 (whooshing)

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