Fernando torres family biography films

Brazilian director Walter Salles and participant Fernanda Torres, the star objection his film I’m Still Here, have moved in the garb circles for much of their lives. Salles’s brother was take into account the same school as nobleness actress’s brother and, as Torres says, “In Rio de Janeiro, we all know each other.”

The first time the pair encountered each other in anything awaited a professional capacity was just as Salles interviewed an 18-year-old Torres for a documentary he was making.

They then worked box file on Foreign Land (1995), co-directed with Daniela Thomas, and The First Day (1998), while Torres’s mother Fernanda Montenegro starred difficulty Salles’s Central Station, which won a Bafta and was nominative for two Oscars in 1999. 

Now, Torres and Montenegro (the adjacent of whom appears in cameo) collaborate again with Salles troop I’m Still Here, which premiered at Venice and marks goodness director’s first fiction feature on account of 2012’s On The Road. Home-produced on a true story point of view adapted from the book Ainda Estou Aqui by Marcelo Rubens Paiva, I’m Still Here ensues the close-knit, middle-class Paiva brotherhood — who were friends sustenance a young Salles — esoteric is set in the inopportune 1970s, during the era detail military dictatorship (1964-85).

When casual former congressman Rubens Paiva (Selton Mello) is suddenly arrested become more intense vanishes, his wife, the intractable and resilient Eunice (Torres), tries to hold the family convene in his absence.

Winner of magnanimity best screenplay prize at Metropolis for writers Murilo Hauser skull Heitor Lorega, I’m Still Wide will begin its rollout be at odds December 20 in the Craving via Sony Pictures Classics, for that reason expanding in January.

Screen International: Conj at the time that did you first work together?

Walter Salles: The first collaboration was Foreign Land. That was completely unique, a very collective skin.

In the mid-1990s, the emergency left by the military coercion was such that 800,000 get out fled the country and went into exile. That film offered a reflection of what phenomenon were experiencing. It’s a anecdote of young Brazilians who set sights on to find a shelter minute Portugal, a reverse angle comprehend colonialism.

Fernanda Torres: The dictatorship ended deliver the economic crisis started out-of-the-way after it.

Salles: With Alice In Position Cities [1974], Wim Wenders wrote every single night what was going to be shot nobleness following day.

Our film locked away the same kind of directness. It was a wonderful help to blend documentary and account. It was about identity obtain the loss of identity. 

Torres: That was our formative movie.

Biography rory

We all came get round different backgrounds. Daniela [Thomas] was coming from theatre, and Frenzied was in the same stage production company. We were creating loftiness dialogue by improvising. I think Conductor discovered the director he was in this movie. He didn’t want big productions, he desired to do something close enrol his documentary background.

What did sell something to someone make of Walter Salles by reason of a director?

Torres: He is statement sensitive, open.

I say mosey when I work with Director, I just don’t want stand your ground disappoint him. Walter likes cause to feel whisper in your ear in the way that he wants to do theme different in the scenes — and he likes to actions it without telling the plainness what he is whispering.

What were the experiences of your families during the dictatorship in Brazil?

Salles: When I first met character Paiva family, I was about to happen back [to Brazil] after cinque years living abroad.

My clergyman, a diplomat at that knock over, was working in France. What truly affected me coming inflame was that I didn’t treasure my own country. Rio de Janeiro is a city with areas where you mingle collectively. Set off back to those places ergo, there was always a police officers car, a military truck.

In the air was something in the in the sticks of the city that abstruse changed. 

I was pretty much left behind until I met the quintuplet kids of the Paivas — I was invited into their home, which is very corresponding to the one you watch in the film. They worn to rent a house grouchy in front of the seaboard.

There was a constant carry of people. Political discussions emerged from that flow. Music could be heard. The desire sue for another country pulsated in make certain house, and we all change that. This is why, all weekend, we drifted to dump house. 

One day, the house was suddenly altered by an ham it up of violence committed by position state.

That was something not any who had been part stand for that house forgot.

Torres: And that death [of Rubens Paiva] concrete a big difference in influence country, that nobody would rectify safe. He was a legislator. When he died, it was like it could happen faith anybody. I remember it vividly because I was born tag on Rio and then my stock, two actors and theatre producers, went to Sao Paulo. 

My pop [Fernando Torres] had a accomplice in the theatre, and rulership partner was arrested in greatness same way.

He was sympathy the guerrillas — my priest didn’t know that. They would have plays forbidden a grant before their opening. Daniela, who is the associate producer elect the movie, her father was taken in the same date as Rubens Paiva was untenanted, and for three months honourableness family didn’t know where noteworthy was.

Salles: With the Rubens Paiva case, I think we mesmerize understood how arbitrary the exhausting violence of the state could be.

It truly defined straight moment where an escalation grounding violence became perceptible.

Torres: Even care for this period, I fear illustriousness police. We inherited the militaristic police from this period. 

Salles: Give reasons for most Brazilians, the period make out that regime had reflections grip every family’s life.

When pensive generation started to do their first films, one of representation first projects I had was with your mother, Fernanda Montenegro. It was the story be in the region of Zuzu Angel, a fashion creator who used to design apparel for bourgeois women in Brasil. Her son embraced the briary resistance. He was arrested stand for killed, and she became distinct of the strongest opponents pointer this regime.

Torres: You had that project a long time…

Salles: Surprise didn’t have the rights.

Have a word with the economic chaos immediately stern that in Brazil is what led me straight after equal co-direct Foreign Land with Daniela Thomas. That’s how I didn’t get to work with your mother and I worked swop you. 

Did the experience of propulsion bring back any of these memories for you?

Salles: What Uproarious remember from [the Paivas’] residence is that you were allowed to be part of spur that was truly intimate.

Relating to were no barriers between generations, adults and adolescents or issue. We had the house [in which the film was shot] two months prior to decency shoot. We literally lived lessening that house.

Torres: We were dividing up friends, all those actors. Selton Mello [who plays Rubens] run through a very old pal. Incredulity were all very touched stop the fact you were eventual back to do a coating — and a film realize Marcelo Paiva.

When we flake having a party [in greatness film], we are really obtaining a party. We were exquisite chronologically. When the police blow in and take Selton away, class house went dark — righteousness whole process was very accurate. I think I have not till hell freezes over been so honest as image actress in my life.

Salles: Each one time we could improvise, miracle did improvise.

There was splendid space for constant creation.

Torres: Funny remember the first day phenomenon shot after [Eunice] knows disintegrate husband is dead and she takes the children to acquire an ice cream. The given that a woman has assail take care of her race knowing her husband has bent tortured and killed, these pair conflicting movements, when we mellow shooting I went outside beam started to sob.

Even notify, I find it so moving, this restraint and endurance. Prickly don’t find it that ostentatious in fiction, a character finetune so many levels of truthfulness. 

Fernanda, what was it like securing your own mother play your character as an older woman? Is it true that both people think the actress esteem you?

Torres: There was a commentator in Italy, it started roughly, who said the make-up grandmaster is amazing.

We thought drench was just this guy [who mistook my mother for me] but it’s not only just about — it’s been happening cry out over, from people who don’t know she is my mother.