00:08Muzica
00:28I have a sense of the opposite.
00:31I have to go from a prison for another prison.
00:36Jo, as Bella, you know, each of these scenes, like, you know, there's a scene with Branca that's very, very
00:43close, where, you know, you see her desire and your reaction.
00:48This happens with Rosa.
00:50This happens with, I believe, the character's Pierre, if I'm not mistaken, where you're both sitting in the woods talking
00:57and there's that tension.
00:59I mean, it's all about the temptation.
01:02I don't know how I find those moments, or how did we find those moments, but I don't know.
01:09We had, or I had some great colleagues, like Inej, Alba, Luik, they were amazing, so it was, like, kind
01:19of easy to work with them, with them somehow.
01:23Was there certain questions that you had about Bella that, you know, some truths that came through, because he's doing
01:29so many things?
01:30Because he has humility, but he also has ego, he has lust, and yet he has love.
01:37In feeling it in the moment, I just trust in them, literally.
01:41The only thing I did, I just completely and blindly trust in both of them, because I think they really
01:48knew what they wanted, and I just tried my best to bring it out.
01:53Because, I don't know, I just tried it to be like a little pawn on their chess game, so I
02:00just did what they asked me to do.
02:02So, I just tried my best to be in the moment, and to play it out the best I could.
02:31You know, I think it's the moment ideal for us to be part of both of them.
02:34It's too late for me to decide.
02:36It's already nothing, it's been a good time to wait for you.
02:39A Sylvia.
02:42The fault is not mine.
02:46The regions of the Brux are a little bit stronger every day.
02:48Where do you go?
02:49No, but tell us, dear Rami.
02:55You're full of mandates.
02:57Well, it's the best.
02:59I find it beautiful together.
03:00You're all good, I hope.
03:04Before I go back to Marguerite and Felix, I did want to ask you, you know, because you're in a
03:09different era.
03:10You know, people act differently, they move differently, they wear their clothes differently, they see their bodies differently.
03:16Could you talk about that?
03:17Because that's a big part of it.
03:18I think in Portugal, we do a lot of like old movies, like those type of movies where we wear
03:26those kind of dresses and we behave in a certain way.
03:29So I did a couple of them, so I'm kind of used to it, but I just have fun with
03:38it.
03:38I just try to have fun with it.
03:40We just, we dressed up different, I don't know.
03:45And we think we, at the beginning of the set for each actors, we asked to them to be not
03:57totally natural because they are playing, but to forget the costume, to find the more contemporary move.
04:08Also in the body, it was very important because we are the same age, same year, with Ines, we are
04:16the same generation.
04:17And it was, for us, it was important to not do, you know, a museum movie or a typical history
04:26movie because we want also to talk about not us, but the young generation also in confrontation with another generation.
04:38And so we asked also to the actor to forget the costume, for example, also we asked to Anna Lorena,
04:47she was a makeup artist, to not use makeup.
04:52So there are, there is just little thing to correct some things, but not, you know, a woman with a
05:03big makeup and men with big makeup.
05:06And so we, we, we, we try to, to find, you know, a kind of life and life from today
05:15also.
05:16Because we had this idea that the characters we were shooting, we wrote on paper, they may be that person,
05:27because they lived in the past.
05:29But the actors we had, they're very alive and that's, that, that, that was the material to work with, you
05:40know, in collaboration.
05:42And, but, you know, it was very important for us not to forget that, yes, we want to see when
05:51they blush and when they cry.
05:53Hi.
05:57O Afonso é magnífico.
06:01Eu aposto a minha vida que ele entrou nas ordens quase por acaso.
06:05Vê como ele deixa aquela mãe ficar a contemplá-lo.
06:09Ele não é assim tão doido para não perceber que ela está a gostar.
06:13É um sedutor.
06:21Eu vou partir com o Bela.
06:24Ele aceitou vir comigo.
06:29Quando?
06:31Assim que pudermos.
06:33O Bela disse que ia fechar um negócio até amanhã com um francês.
06:36E com isso arranjaria o dinheiro que nós precisamos.
06:39Porque nós tínhamos, like Machiavelli, we were talking about the garden, about there's an innocence of the people in the
06:46garden, but there's also a temptation that pulls them away.
06:50Could you talk about that?
06:52When we wrote, it was all about, yes, trying to see where is the limit in the relationship.
07:00So, that was part of the work, of course.
07:04And then it's very clear that every character has a dilemma.
07:10And so, therefore, they, you know, Rosa is in love with Bela, but she would like to go back to
07:18her homeland.
07:19So, it's a huge problem for her to choose between the two of those two things.
07:26Maria, she is in love with someone who's not there anymore.
07:31So, that's also a big dilemma.
07:34Bela has everything in his life to, you know, succeed and to be happy.
07:40And at the same time, he is maybe wishing for adventure or something different, but as he hasn't experienced any
07:48of those things, he can't know.
07:51And so, that's always the line in between what they know and what they don't know yet.
07:56But what their inspiration is guiding them through unknown tracks.
08:02And so, yes, I guess for Branca, it's the same as well.
08:08She is in love with someone who doesn't pay so much attention to her.
08:12So, at the same time, it's very simple.
08:16I mean, it's, it can happen to any of us.
08:21But, yes, in the work with the actor, it was all about, we talked a lot before shooting, actually.
08:28Especially with Jolo.
08:29Oh, we, you know, we talked about Bela.
08:33We could, you know, maybe not so much about his background or biography or, but why does he say this?
08:40And why does he need to talk to Jacques in this moment rather than Maria?
08:45And why he needs to just go for a walk?
08:48And it was very important to talk before a lot, also to forget everything when we shoot.
08:59Because it was very important to have an innocent Bela.
09:04But Bela knows, Bela is clever, but during the moment is just in the present.
09:08And that's why sometimes maybe he does the, not the wrong choice, but maybe the not more evident choice.
09:19And, yeah.
09:21So, yeah, we talked a lot before to forget everything during the show.
09:26No, it wasn't hard because I liked work like that.
09:28And it made me much more comfortable around them.
09:32And I think for me as an actor, that's very, very important.
09:35So, I thought, and I think, and I still think, and I still feel that I could be totally honest
09:43with them.
09:44So, I think those talks beforehand were very, very, very important.
09:49When did he say that he would start with you?
09:51It was yesterday morning.
09:59What do you have?
10:03Nothing.
10:19It's sort of, it's interesting because we're talking almost about preparation and then, you know, it's also the movie's about
10:26expectation.
10:28Expectations of ourselves, expectations of our future and what we think we might be doing.
10:34Can you talk about that aspect of, you know, because it has to do with perspective.
10:38It starts with one thing is that parents always have expectation for their children.
10:45They want the best for them.
10:46They have, you know, lots of great ideas.
10:49And they're absolutely sincere about those wishes.
10:53So, that's also something we try to do in the movie is understand every character, not judging them, meaning that
11:01they could all do what they had to do without us being judged of their choices.
11:08There is a voiceover in the movie, not exactly a voiceover, but we can call it that way, from Jack.
11:16And he's not judging.
11:18It's just sometimes expressing one's feeling that can be ours as well.
11:23That's why we said at the beginning that we're not only like Bella, we're also a little bit like Jack.
11:29Yeah.
11:31But, so that's the first thing.
11:33And then, obviously, for women at that time, there are expectations.
11:39And they're trying to navigate.
11:42They can't do so much, not as much as today, but they're trying hard.
11:47I mean, Rosa is, is, is, is, I think we tried in the movie for Rosa, she's played by Ines
11:55Piresh-Tarresh, and to see her grow as a, as a person who tries to become independent.
12:05So, I, I think we, we can see that.
12:08It's the same for Bella, but he's track is less vertical.
12:13I guess, also the, the expectation of children regarding their parents.
12:18Um, and in that case, Bella, he, he's first an orphan.
12:23So, so it's, it's also, um, very specific because he, he could have none because he, he does, he's supposed
12:33to have anyone to, as parents.
12:37Yes.
12:38Yeah.
12:38He, uh, Bella, um, uh, tries to, um, please, please also to their parents, for example, in the, uh, first
12:48scene with, um, the, um, French merchant, uh, yeah, he's trying to, to, to, to be there, to, to show
12:57off.
12:57Yeah.
12:57Also.
12:58So, yes.
13:00Yeah.
13:00What's very funny with expectation in, in the film we made is that you can play because you can play
13:07what people want you to be.
13:09So I, I guess for actors, it's also very, I mean, it's, it's like, um, another step of the work
13:16together.
13:17Like we're, they're playing, uh, Bella, Rosa, et cetera.
13:21And at the same time, they're playing what, uh, the way, uh, Jacques Cisbella, the way Pierre Cisbella.
13:27So that's why it's always a little bit shifting.
13:30Uh, and that's why we needed also those scenes you talked about when they're, they're only the two of them
13:35talking.
13:37There are many scenes with only two persons because you, you're not always the same with the person you're talking
13:42to.
13:43We can't pass it to the side.
13:46Who can say some of these words that you love with pure love and without interest to anyone?
13:56Bella.
13:58You need to say.
14:16You.
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