Jornal da Mostra
Lílian Taublib, Ricardo Trepa, Sergio Groisman, Antonio Fagundes and Paulo Betti
Nº 380 > 29ª Mostra > 28/10/2005
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Brazilian cinema depends on actors
Until there isn’t a Brazilian movie industry, with self-financing power, it’s up to the actors to persuade the public to watch Brazilian productions. This is one of the conclusions taken during the discussion “The actors role in the cinema”, promoted last Monday, 24th, at Clube da Mostra (Conjunto Nacional – Cine Bombril Hall). With the participation of the actors Antonio Fagundes (from Lost and Found), Ricardo Trepa (from Magic Mirror), Lílian Taublib (from Crime Delicado), Paulo Betti (actor and director of Cafundó), and mediated by the TV host Sergio Groisman, the discussion gathered a great public.A veteran, who has worked in 40 films, Fagundes pointed out the lack of film writers in Brazil, leading to a great number of literary adaptations. Without good screenplays and dialogues, the actor’s work is not noticed, he explained. To Ricardo Trepa, working with an original screenplay is much more interesting, because it demands more researches from the actors to make up the character. Lilian, who performs for the first time, says her life changed completely after the impact of her first film. Now she wants to study and keep doing films.
Betti, who acted in 20 films and debuts as director, explained that, in Brazil the director is the person who has to go after the budget do make the film, because nobody wants to produce a film for someone else to direct it. That’s why Fagundes agrees that TVs network, like Globo, invest in the motion picture. He sees no problem in the massive participation of actors from Globo Network in the Brazilian cinema, because besides attracting the public, the actors help the director, since they have experience in acting, it makes the shooting easier. The Brazilian director can’t repeat the scenes, since the budget is low.
Fagundes pointed out that the prejudice against the popular has to end. We need to attract the public, then we teach them to appreciate the erudite, the classic or the experimental. Betti adds that in Brazil the director is more appraised, he’s the one in command of the production, but for the public the actors are more important. The celebrated Portuguese director Manoel de Oliveira (honored with a retrospective and a book release at the 29th Film Festival), who was in the audience, said the Brazilian soap operas are wonderful and they don’t stand behind the European and North-American movies. He also pointed out that the Brazilian actors are great, spontaneous, natural talented.
