00:28Tymus is a solo post
00:36first for marguerite and uh and felix could you talk about looking at the character of bella and
00:42his journey but also these people that have to flow around him in this time the film is adapted
00:48from a short story by a german writer and in that short story the main character arabella
00:57is called niccolo and he's um more of a bad person uh he's called the tartuffe by cleist and what
01:06our
01:07work was in part was to try to not save him but at least understand every part of that character
01:17the shadows and the lights and also he was a young person like us so there is at least some
01:26um echoes between us and bella and um not only uh but um we very we're very interested in
01:37seeing how you grow up and how you do in the adult world and that's what we work with with
01:45joao
01:53is
01:54is
01:55is
01:55is
01:55is
01:55is
01:56is
01:57is
01:57is
02:00is
02:00is
02:00is
02:00is
02:25could you talk about the notion of desire whether it be emotional desire whether it be sexual
02:30desire um all that sort of plays into how he lives his life as a young adult um
02:38just just going out of the childhood um bella is um he's just starting to know what he wants
02:47uh and that's that's where he discovered that he has his own desires that he maybe he can feel
02:55feel by himself maybe the roots or the tracks that um the other and especially the parents wants for you
03:03are not your own desire and that's in this uh little um i don't know the the word you know
03:11it um
03:12confrontation yes the confrontation between that and he tries to make choices and he thinks that his
03:21choices are uh perfectly in uh accorded to his desire and sometimes they're not and that led to
03:30to you know misunderstanding secrets um betrayal and a little bit of tragedy as well because it's a
03:38movie so we can go um too far ends and and also in our story there is a thing about
03:46um a misunderstanding
03:48in bella's identity uh at some point he sees something or someone or an image
03:56and he is very attracted by that image and sometimes images are a little bit of lies
04:03and uh he just rush into what he sees and thinks he's maybe the same person maybe he's as uh
04:12beautiful or as
04:13gracious as as what he sees and and that that is a little bit confusing uh for that character
04:59because taking that on taking that because it becomes
05:03is a physical thing it becomes an emotional thing and you can see he's trying to be more impulsive
05:09but he's also thinking um could you talk about those different facets i think somehow he's just a kid
05:15so i don't think he's uh bad intendance uh on his actions so i think he's just trying to find
05:24his place
05:25in this world that is that has some kind of expectation for him so i think it's just a kid
05:33with uh making
05:34like not bad choices but maybe not the greatest ones but i think in i think he doesn't want to
05:43or at
05:43at least it doesn't mean to hurt people or the people around him
05:47in the short story by cleist um bella so niccolo is a big manipulator
05:53um and he has some plans but not in a short way but in a long way so he's very
06:03clever uh
06:05our bella is clever too and sometimes manipulator but more in a short way you know um short
06:17short short term yeah short term sorry that's all yeah yeah and so yeah he he knows uh he has
06:28some
06:29charms uh he knows he he has a family or so and the new family is the family of rich
06:38um mark
06:39count merchant merchant merchant he knows all of that but he's instinctive and when he he does some choices
06:52it's it's it's it's more instinctive than very machiavellic but yeah he's a young guy he's clever so
07:02he knows but um in the same way we know when you use uh your charms or yeah so it's
07:12just normal you know
07:20Isto era do menino é para dar não perguntamos ao pierre não podemos falar-lhe da verónica mas já errou
07:29-me não
07:32é melhor perguntar mas mesmo assim
07:42o que é isso que lês uma carta de jacques para pierre uma declaração mal disfarçada
07:52o pierre é muito bonita
08:00o jacques escreve bem
08:05mas é interessante uh yeah and i like the fact that you talked about machiavelli um is the aspect
08:11also that you know because you're painting this society has obviously expectation but visually
08:17the way you do it you know you know obviously the natural lighting but just sort of letting the scenes
08:23breathe while the characters move through them um that's a very specific stylistic choice
08:28yeah it was uh important for us to create a kind of uh contrast um we have the human feelings
08:39and you have the feelings of the nature you have sometimes the calm and the peace in the nature
08:48and the tempest and the tempest in the characters but sometimes it's not that it's the tempest
08:57in the trees and the calm in the characters and permanently uh you have this opposition uh between
09:05you know uh hard feelings or um sometimes bad feelings too and the life and yeah so we we work
09:16a lot with
09:17uh mario barroso and also after with pedro gauche and francisco velozo for the sound to to to create uh
09:28this contrast
09:33um
09:39uh
09:40uh
09:41uh
09:41uh
09:59uh
10:00uh
10:07in the story um it's outside of lisbon so it's an historical movie but we were very interested
10:15in not being in the city not being where the rush is uh not having also to show you know
10:22people in
10:22the streets or the streets or anything so it's a family that lives in a quiet place
10:27supposedly uh a little bit outside of um the era um so it's supposed to be a little uh of
10:38peace and
10:40maybe they could be very happy there they can it's also a place that uh supposedly allows them to be
10:47as they are um for pierre and jack to live a little bit less in secret than they then they
10:55should be
10:56um
10:57maria she can have her moments she can have her peace as well and bella can just walk around go
11:03from the house to the monastery and people leave him in peace but then um then you're lonely in the
11:11nature uh and so we were very interested in that's why also we go very close to the characters because
11:19it's not because we have a beautiful scenery that we want to show it all the time um so we
11:26go very
11:26close to the faces we go very um yeah lots of close-ups on the actors faces on the trees
11:34as well
11:34we go very very close to try to catch i don't know the wind maybe um maybe something that's between
11:42the trees and the wind that is the character's feeling and then that's the audience to see what
11:49they want to see but um and that's been a huge work with sound as well
11:52we can't pass away
11:56who can say some words that you love pure love and without interest
12:00person
12:04well
12:06you
12:07you
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