00:13that's what keeps you watching
00:22we've spoken many times but i always remember we'll be talking for heleno i believe in miami
00:26and yeah i like that one yeah so did i but it but it's interesting like looking at that character
00:33just to jump in you know that character was ambitious but he had self-destructive qualities
00:38um obviously that was the balance with abu it's interesting how he takes his ambition
00:43pushes it forward recognizes his strengths but also his weaknesses and those people he wants to
00:49protect could you talk about that it's an interesting balance yeah man um well this
00:55character was inspired in a in a character from a dostoyev's book the brothers karamazov brothers
01:02and the father fyodor pavlovich uh the the writer of uh this race told me on day one oh so
01:11abu is
01:12inspiring on this guy i'm like okay the character is incredibly complex and it deals with ambiguity
01:20all the time so he's repugnant and incredibly captivating he's completely immoral but passionate
01:29uh seducing uh so the whole i think the biggest exercise for me was to find the measures the
01:39measurement of okay what are how can i paint those colors in a way that the character remains human
01:47and not a caricature but there's so many things to play with here um and abu was i think if
01:56we
01:56if we try to pick a figure now you know in nowadays it would be like a showrunner that it's
02:04not the
02:05classic uh showrunner who is an intellectual who creates the show and super cool no abu likes to be in
02:13the center of it he's all about you know spectacle and his image i think he needs the others
02:23to be somebody he needs your opinion so in a way there's a lot of little uh social critics
02:33in in criticism in in the film um social inequality uh power dynamics um you know the culture of uh
02:45spectacle where uh appearance it's more important than the essence of things the things that we're
02:52you know we're going through just as we speak um and abu is in the center of it all he
03:00loves that
03:00but he does suffer with a lack of recognition from what we call the cupola the the the the power
03:12above
03:12him because they say he doesn't belong there so while he's completely uh comfortable in in being that
03:22guy he's like really miserable because he's not a part of the you know the high society so we're
03:32talking about classes is a big metaphor to discuss basically what's going on in our crazy world
03:39to control an animal
03:43is the privilege of a few to bring joy to the man we are finishing this race no matter what
03:51you can change your life and win this game i do love bringing like the within the essence of
03:56an action film with lots of action in it you bring it you guys bring in dostoevsky that's insane but
04:03also it has obviously dostoevsky already had the machiavellian elements of the prince of the power
04:10that ultimately corrupts um could you talk about that because the way you move and the way you
04:15sort of progress yourself as the character there's even one scene where you're sitting on a couch with
04:21three ladies and it's very very machiavellian it's very very you know roman roman um well you got that
04:30very right uh that was one of the inspirations uh which i play with lots of things lots of different
04:37things i don't have a particular uh formula or or like a protocol that i go through to prepare for
04:44for a part it it varies it's whatever inspires me uh roman empire you got that spot on uh because
04:55here
04:56we're talking about something that is an element from the brazilian culture which is the how do you
05:02say that it's like it's a game it's the the it's a game it's very particular from brazil that we
05:10bet on
05:10on the on the on the animal there's a lot of animals so it's it's inspired it's a big metaphor
05:16in the film
05:17it's not exactly the way it is but it's a game that you put on the paper and you say
05:21i want to put
05:22this amount of money on on the dog or the cat and then you can win or lose my character
05:30abu was a snake
05:32in the past so i have the tattoo nice yeah yeah i that was all that was that all came
05:40after
05:41half of what you what you listen coming out of abu's mouth is improvised first of all this is a
05:50character and and i had a director with me of fernando morelle's who i've been dreaming to work
05:55with for a long time who provocated instigated me to improvise and i would feel like oh maybe this
06:04is too much because don't worry i'll i'll edit if doesn't work doesn't work it's all in the movie
06:13parabĂ©ns vocĂȘs foram os escolhidos pela cĂșpula do jogo para entrar no salĂŁo na prĂłxima temporada
06:20aqui nĂłs temos alguns jogadores experientes e outros que estĂŁo chegando para perder a virgindade
06:28jogar controlar um bicho privilégio de poucos e faz alegria de muitos
06:34everything it's in the movie because he would he would just provocate me he would just no no no go
06:40and he would like something he would get closer okay okay good let's let's do this here so he was
06:46very alive um and this character you know of course i had to use the snake as an animal
06:54for a body uh you know uh my body work and my conscience and there's you know a combination
07:00a lot of uh i i tend to work with music a lot i love music it's it's part of
07:08my yeah i remember
07:09you saying that yeah it's part of my creation process and i love it and it doesn't have to be
07:14oh this character it's not a soundtrack for the part it could be something completely random that is
07:21part of my playlist but that song or that noise or that audio will inform me or
07:30inspire me something that i need for the character so it's not uh uh related in a way that has
07:38to be
07:38logical okay it's more in a sensorial you know world so a lot of i used even you know something
07:47from
07:48back in the day stuff that i use for xerxes that i remember i went back on my playlist and
07:53say okay
07:54maybe this here and this there so it's a combination of all those things that helped me to
07:59get in touch with the character uh and and and to be able to humanize the character and to be
08:06able to
08:06portray because when we get to set and and it's rolling the idea is to forget and and just be
08:13right
08:14so i'm constantly feeding myself but once we're there and we're doing it it's about it's about
08:23discovery it's about surprising yourself it's about just just going with it so i don't like to prepare
08:28and i like to to have but it varies every time is different
08:32cada temporada tem quatro partes com vinte duplas
08:36e agora nossos seguros nos desafortunados da Ășltima temporada perdidos eles podem ser comprados ou
08:45alugados para serem companhias educadas e agradĂĄveis afinal a grana de vocĂȘs tambĂ©m pode bancar algum
08:53prazer tĂĄ certo todo mundo merece um carinho bom quem quiser chegar perto para avaliar
09:05nĂŁo
09:11no
09:12but this one like uh with a boo even though you said a lot of it with most of those
09:16improvised
09:17you're very measured it's sort of like it's very deliberate so you're making very specific you know
09:23you could really overplay this and push it very very far but it works because it's measured i think
09:29in many ways if you will thank you thank you i think it's because the personality i had such a
09:35strong
09:36reference which is the the patriarch from the karamazov brothers and i went back to read and then i saw
09:44some movies that they made on it and and i was like my god such a it's not that it's
09:49just a reference
09:51that character is more complex than is dostoevsky but it gave me such a dimension that when the character
09:59exists the improvisation becomes like it becomes more natural it i'm not saying it's easy i'm saying
10:10it's it's just there it's it's it's here you just have to to grab it and and and let it
10:16and channel it
10:18somehow you channel it because the character is already there it's existing with you within you and
10:24then you just pick ideas and and then you just pick ideas and and throw it there
10:30no
10:57but it's also with this movie it's about perspective this is my last question
11:00with perspective and perception how he wants to be perceived how he sees the world but how he sees
11:06the animals versus the players could you talk about the the world of perspective and perception
11:12within this world and how you had to sort of keep that in the back of your mind even if
11:16it's not
11:17coming out specifically on screen yeah the whole idea of playing with different uh classes uh you
11:26have the top which is the super rich billionaires controlling the whole thing and then you have
11:33abu which is up there controlling the game but he's not where he wanted to be you have different
11:40perspectives i think if you go to the players you will have a perspective a clear perspective i think
11:48for them even abu is sort of like in the mix they don't mix he doesn't belong for abu who
11:57was a
11:57runner back in the day he does have respect and passion for the game he's not only a showman
12:04he loves the game but he loves more his image and who he's becoming and who people are saying that
12:12there are some things that didn't make in the movie but was like a moment where improvise that
12:18he gives some autographs and he makes like a a snaky thing that he was so pathetic
12:24it was so i worked with the uh pathetic element well you saw it when he did he's adjusting his
12:33his hair
12:34and there's a lot of things that is so important to him and he's so fragile at the same time
12:40he's
12:41so powerful and so smart and quick but at the same time he's he doesn't have a strong emotional
12:49or psychological core it's completely fragile because he needs the validation the other's
12:58validation to be somebody and and playing with that was was was fascinating
13:03you
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