Sônia Braga reacted in a beautiful way to the draft I sent her, so we just made the film ["Aquarius"] as I had written it. Emilie [Lesclaux], my wife and producer, told me, "This is not a two-hour film. This is going to be longer." And I said, "Well, let's try and make it work, whatever length it is."
I think the film [Aquarius] comes from that original feeling I had 18 years ago, when I was in a São Paulo supermarket. I was in line to pay for something, and when I looked up, I saw the little windows of a projection booth. That's when I realized the supermarket used to be a movie theater. They didn't even bother to change the walls. Years ago, "The Sound of Music" could've been playing in that space.
The way I see it, I belong to the film as any other department.
I didn't want to overstate anything, but at the same time, the scene expands on some of the themes in the film [ "Aquarius"].
It makes sense that somebody told you that you made the film from your perspective as a father.
To be naked or even making love in a scene to me is very important if this is a movie about a couple or sensuality. It's a sort of moralism to think that this shouldn't be seen in the film.
Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.
Everybody else is going to react differently to the film [Aquarius], but what I love about it is that both men and women are going to react to it because they will find themselves represented.
These 150-minute superhero films that Hollywood is making are so concerned with their length that each scene doesn't have the time it needs to make sense.
I live in New York, and Clara lives in Recife. The character is Brazilian, and as I read the script, I felt like Kleber [Mendonca] had been spying on me in order to create this role [in Aquarius]. Clara and I have different backgrounds. I come from an intuitive world, and she's an academic, but when we got together, we really became one. There are many times when I'm watching the film where Clara will say something, and I will find myself agreeing with her. It was the first time that I had this weird sensation that the character I played is so me, but yet it's so her.
When Sônia [Braga] talked about the script in detail, it was as if she had seen the film [Aquarius] last night, even though it hadn't existed yet. It was a completely bulls - t-less reaction, so I knew it had to be her, and she has been great ever since.
It always surprises me when I see the director's versions of films released separately, long after the film's theatrical run.
The film [Aquarius" ] is very, very successful. We had the highest per-screen average of last week's releases.
When I talk to [my kids], I remember my father talking to me, so it's understandable that I would make a film like "Aquarius." A very good friend of mine saw the film, and she said it was clear that it had been made by someone who had just become a father.
It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it."
["Aquarius"] it had a bit of a rocky arrival in cinemas because we were given the 18+ rating, which did not make any sense in terms of the Brazilian rating system for a film like this.
I just hope the film [Aquarius] doesn't feel overly nostalgic because too much nostalgia for me leads to depression. I think Clara is very pragmatic.
Nobody who comes out of the movie [Aquarius] focuses on those [sexual] scenes, because they are not the heart of the film. They are a consequence of the story, but I don't remember hearing audiences talking about them afterward. They came out discussing themes of resistance, history and memory. They're talking about the beauty of the self and how it can become demolished.
When you actually see it, it is quite strong, but there's nothing really pornographic about it. They are high-impact yet very short moments of sexuality, which makes it very confusing for the censors. If censors were merely human beings who watch a film ["Aquarius"] and come out with a conclusion about what they saw, then there wouldn't be a problem.
I think anybody who was ever saddened by a movie theater closing would be able to understand this film [Aquarius].
We did receive some questions about the film's [Aquarius] sexuality in Cannes, but they came from the press rather than audiences.
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