• 10 months ago
Transcript
00:00 Guys, let me tell you something. I don't think I've ever told anyone this.
00:04 Only Luisa knows. My dad is buried right next to where I was born. Did you know?
00:09 And the boy was really armed.
00:18 Positive.
00:19 It was his gun.
00:22 The 2. The series shares much more than just the title of its 2018 album.
00:28 Besides the soundtrack, it really takes to the screen a little of your creative vision.
00:32 Tell us a little bit about this process.
00:35 It has been a need, like, for the collective work.
00:38 I'm an artist, a rock star, used to be paparizzi.
00:41 So, so, dividing is a very difficult thing.
00:47 So, I learned, I learned a lot in this process.
00:52 Listening, you know, talking and listening and sharing ideas.
00:58 It was really good, after so long, you know, a 30-year career, doing so many things, so many different things.
01:07 I don't know, I think I brought a lot of things from my experience as a rock star, you know?
01:16 I'm a musician and I learned a lot from each one, you know? Each one of this group, which is huge, right, man?
01:23 A team of hundreds, like...
01:26 Antônia, besides having been through the Rio Festival, the series will also go through the FLUP, the Periphery Literary Fair.
01:32 I wanted to know from you if it is a priority to reach this audience that will precisely identify with the characters.
01:38 Of course. I think it's very important, like, we were very careful.
01:44 From the beginning, with the team building.
01:49 So, when you talk about reaching the audience that we want to reach,
01:53 actually, since the assembly of the room, you know, people have already been part of it.
02:00 We have, for example, the collaboration of Giovanni Martins, who is a writer.
02:05 Then I'm talking about Giovanni, who was the person I mentioned here, who comes from FLUP.
02:12 So, this seam, we were very concerned about doing it in a cool, fair, inclusive way.
02:27 Man, I wanted to say something that I think is important, because we had the show of the two episodes at Odeon,
02:33 and several of the mothers were there.
02:35 And it was very powerful, at the same time it was very desperate at the moment,
02:41 because they said, "My God, these mothers are coming from a moment, reliving a tragedy."
02:47 And when the session ended, I went to talk to them and it was, at the same time, they thought that it was all very real.
02:53 Central, I'm listening for support.
02:55 A big-chested man wearing a red shirt heading for the Melão's well.
03:00 There, there, there, there, at the door, people at the door.
03:02 Malu, taking advantage of this hook, I wanted to know which stories, essentially Brazilian, do you still expect to be told?
03:09 I think an important challenge is always telling a story whose voice has never been heard before.
03:16 So, being able to hear voices that are marginalized, and this can be anywhere.
03:23 I think giving voice to people who have never been heard is a place, not only, of course, of inclusion, but in fact it is talking about Brazil.
03:34 It is having plural voices, because the plurality of the country is gigantic.
03:39 This comes a lot from Marcelo, which is very beautiful to see.
03:43 So you see this pop, musical thing that you can really follow along the series.
03:51 But there is also the heart part.
03:54 D2, choosing love instead of hate.
03:57 This maxim is in your songs and also goes through the series.
04:01 In your view, what does love mean in the lives of these characters who are facing daily violence?
04:07 I see myself a lot in these characters who are there.
04:12 We are very pushed.
04:14 Every girl who is born in this place, where these characters are born, in a favela in Rio de Janeiro, almost all favelas in Brazil, is very pushed to violence.
04:23 Basically, all these characters in the series cling to it with the hope that they will survive.
04:31 I want to know the name of the policeman who killed my son.
04:42 Tatiana, you play a mother who loses her son through police violence.
04:47 According to data released by the series itself, more than 2,000 children were murdered in 3 years by the police.
04:53 Did you talk to any of these mothers to compose the character Rita?
04:56 I didn't talk specifically to the mothers, but I stayed close to them.
05:02 We met some mothers and I listened a lot to what they were saying, their stories, their experiences, in a very discreet way.
05:12 They didn't know I was there.
05:14 Mariana, Edna is also a mother, but by circumstances she ends up on the other side in a family of police officers.
05:21 For you, what feelings do you feel about this character?
05:25 I usually say that in most of the works I've done that go along with this theme,
05:32 I usually do or did the other side, which in this case is done by Tati, the mother who loses her son.
05:42 So, for the first time, I have the experience of building and living the construction of an integrated black family.
05:54 As much as we have a big problem, our son killed a black child in a favela, we are also black.
06:05 Edna also comes from a favela, but she lit up and this past, she doesn't want to have much contact with it.
06:14 So, it's a very complex character, which has this same origin as sushi, but she doesn't want to deal with it.
06:23 The feelings that cross her are extremely contradictory, because she has already lost relatives in the same way,
06:34 but she doesn't want to lose her son to jail, to the system, anyway.
06:39 You know they killed my brother, right?
06:43 A week and nothing so far.
06:44 And you think you can defeat the system?
06:46 You're already full of problems, you don't have to go after more.
06:49 Nobody called us, man.
06:51 The issue of justice is just talk.
06:53 Breno, just like your character, do you believe in the maxim of organizing anger as fuel for social transformation?
07:00 I believe, I believe.
07:02 I particularly, depending of course, on the theory that this can take, but I believe that any way,
07:08 especially of art, which is what Sinister does all the time, for the sake of justice, is welcome.
07:15 I don't think they're out of school things, I think because the maximum of this, the mistake, the fatality, is on our side.
07:21 We're just looking for justice.
07:23 How do you relate to your artistic career?
07:25 Can you find an identification with your trajectory and the character's?
07:30 Many things we are very close, very close and similar, but many also distant.
07:36 I had never done graffiti, for example.
07:38 And it was a passion that Sinister gave me, you know, these visual arts.
07:43 My partner also works with drawing nowadays, so it was a door that opened up, like this, in a world that I am very grateful for.
07:50 The fact of living together, of seeing this story repeating itself for a longer time, in the case of Rita,
07:57 gives her a capacity to understand other tools to be able to achieve what is desired,
08:09 what is fair, what is good, what is necessary.
08:13 I think we are maturing and discovering new ways of fighting, which does not invalidate the other's way, quite the opposite.
08:24 So generational I don't think it is, I think it's a matter of expertise, of life, of having access to this kind of gift for longer.
08:34 If we don't have a witness who is in charge of the investigation, this case won't work.
08:39 The guys are saying that my son was a bandit.
08:42 What impact do you expect to generate in the public from your character?
08:46 Do you see a space to reach empathy?
08:50 The same policeman who kills is also the policeman who dies, you know, at some point.
08:56 And most of these policemen are black too.
08:58 And I think that this character, what I tried to do in a very honest way, was to humanize this character, you know?
09:06 Well, Katia, knowing your work, what makes Mária para os Fortes so different and so original in the way of addressing a theme that has already been treated in other ways in the cinema?
09:18 Since Cidade de Deus until now, I refused many works because they were repetitions of the same aesthetic of Cidade de Deus.
09:28 In Cidade de Deus, we had interviews with people from the communities, but in the final editing, everything was taken out.
09:36 Almost all the women left and it became a very masculine film, right?
09:41 So when they called me to do this series, what attracted me the most was the point of view of women, families and the community.
09:52 So that's why I wanted to do it.
09:55 What are the main challenges of telling this story?
09:58 How to access this place of strength, at the same time of vulnerability, lightness and drama?
10:05 I think the main thing for us was how to tell this story so that people could identify themselves, so that they don't...
10:17 without massaging, but also not in a sensationalist way.
10:25 So we had many moments of discussion, right?
10:29 How far would the cry go? How far would the scream go? How far would despair go?
10:34 How far would this mourning that we usually see go?
10:39 So there were many discussions to deal with this story so real, so visceral, in an ethical way too.
10:47 It has a documentary character, right? I mean, it's not an absolute fiction, right?
10:52 But it is based on many stories, right? From many mothers, many families, right?
10:57 We've always had this concern of being visually interesting, right?
11:03 Ethically, right? To have this dynamic that comes from all of Marcelo's work, right?
11:10 Which is very forceful in the lyrics, in the manifestation, in the attitudes, but it also has a visual healing, right?
11:20 So a little bit of the clip things, bringing songs, right?
11:24 To have this very strong musical part too, right?
11:28 That tells the story, that makes the story even stronger.
11:32 I'm looking for the oldest of the land and drums
11:35 That way I get stronger, I face less and my pain
11:38 Everyone has money
11:39 A question for everyone now. Of all the scenes, which was the most memorable for you?
11:45 For me, the burial of Sushi is particularly strong.
11:49 We discussed it, the exhaustion, right? And it's a very, very, very...
11:56 It's impossible, I reviewed it a thousand times, sometimes I cried, every time I see it I cry a lot.
12:02 It's something I think I'll never be able to erase in my life, these images in my head.
12:07 I think the burial is very symbolic, I was going to say the same thing
12:12 Just because it's done in such a beautiful way too, with music and silence, a lot of strength.
12:20 And it's the moment you see the strength of these mothers the most, here, so spread throughout Brazil.
12:27 Me too, one of the three women I could comfort.
12:31 I think it moves us a lot, it's hard not to identify with a mother, with that feminine structure.
12:41 Guys, let me tell you something. I don't think I've ever told anyone.
12:45 My father is buried next door, where I was born.
12:48 I don't know if you know, but he appears in the scene.
12:52 No one ever knew, at the time I was going to talk there, I was doing a scout.
12:57 I was like, "Oh, I'm not going to talk, I think it's a mood."
13:00 I was in mine, and today, now, when you three talked, I remembered this thing.
13:07 Every time I see the scene, it moves me, because this scene is very strong.
13:11 For me, it's when you dance with Sushi.
13:15 "Oh, this scene is so beautiful."
13:18 "This scene is so beautiful."
13:22 "This scene is very beautiful."
13:24 There's a scene at the end, which is the sinister one, with the mother.
13:31 They're having lunch, and she makes that "rabada" for him, a wonderful meal.
13:38 I remember the smell of the set that day.
13:41 Every moment of our family, as I said at the beginning,
13:45 because for me it was very special to have lived this family role in audiovisual.
13:50 That's it, I can't talk, because I cry too.
13:53 The wall of Edna's house is full of photos of us, of this family, in several moments.
14:04 This family wasn't always what it is now.
14:09 It was a happy family, it's a very drastic cut that we live in the series.
14:17 Besides that, every moment of the family, no matter how heavy it is, is a family that respects each other.
14:24 So it's very emotional, it was very emotional.
14:27 The gun that my son carried was a flower he would give me on Mother's Day.
14:34 A mother always wants to believe in her son.
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