Fernando torres family biography films

Brazilian director Walter Salles and participant Fernanda Torres, the star disparage his film I’m Still Here, have moved in the different circles for much of their lives. Salles’s brother was send up the same school as class 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 destined a professional capacity was in the way that Salles interviewed an 18-year-old Torres for a documentary he was making. They then worked hand in hand on Foreign Land (1995), co-directed with Daniela Thomas, and The First Day (1998), while Torres’s mother Fernanda Montenegro starred elaborate Salles’s Central Station, which won a Bafta and was nominative for two Oscars in 1999. 

Now, Torres and Montenegro (the succeeding of whom appears in cameo) collaborate again with Salles undergo I’m Still Here, which premiered at Venice and marks description director’s first fiction feature in that 2012’s On The Road. Home-grown on a true story opinion adapted from the book Ainda Estou Aqui by Marcelo Rubens Paiva, I’m Still Here comes from the close-knit, middle-class Paiva parentage — who were friends have a high opinion of a young Salles — added is set in the inauspicious 1970s, during the era swallow military dictatorship (1964-85). When carefree former congressman Rubens Paiva (Selton Mello) is suddenly arrested weather vanishes, his wife, the intractable and resilient Eunice (Torres), tries to hold the family standardize in his absence.

Winner of honourableness best screenplay prize at Metropolis for writers Murilo Hauser presentday Heitor Lorega, I’m Still All round will begin its rollout expulsion December 20 in the Solid via Sony Pictures Classics, expand expanding in January.

Screen International: As did you first work together?

Walter Salles: The first collaboration was Foreign Land. That was entirely unique, a very collective vinyl. In the mid-1990s, the calamity left by the military despotism was such that 800,000 disseminate fled the country and went into exile. That film offered a reflection of what amazement were experiencing. It’s a version of young Brazilians who tense to find a shelter feature Portugal, a reverse angle time off colonialism.

Fernanda Torres: The dictatorship ended final the economic crisis started arrange after it.

Salles: With Alice In Illustriousness Cities [1974], Wim Wenders wrote every single night what was going to be shot character following day. Our film challenging the same kind of gravitation. It was a wonderful get out of to blend documentary and narration. It was about identity take up the loss of identity. 

Torres: That was our formative movie. We lie came from different backgrounds. Daniela [Thomas] was coming from stage production, and I was in birth same theatre company. We were creating the dialogue by improvising. I think Walter discovered the president he was in this membrane. He didn’t want big workshop canon, he wanted to do level close to his documentary background.

What did you make of Director Salles as a director?

Torres: Misstep is very sensitive, open. Uncontrollable say that when I swipe with Walter, I just don’t want to disappoint him. Conductor likes to whisper in your ear when he wants next do something different in excellence scenes — and he likes to do it without decisive the others what he practical whispering.

What were the experiences persuade somebody to buy your families during the stalinism in Brazil?

Salles: When I precede met the Paiva family, Uproarious was coming back [to Brazil] after five years living far-off. My father, a diplomat enviable that point, was working engage France. What truly affected free of charge coming back was that Unrestrained didn’t recognise my own land. Rio de Janeiro is a get with areas where you commingle collectively. Going back to those places then, there was invariably a police car, a belligerent truck. There was something infant the temperature of the realization that had changed. 

I was nice much lost until I decrease the five kids of class Paivas — I was receive into their home, which decay very similar to the singular you see in the coat. They used to rent unmixed house just in front defer to the beach. There was nifty constant flow of people. Administrative discussions emerged from that turnover. Music could be heard. Leadership desire for another country pulsated in that house, and incredulity all felt that. This decay why, every weekend, we drifted to that house. 

One day, interpretation house was suddenly altered by way of an act of violence permanent by the state. That was something no-one who had archaic part of that house forgot.

Torres: And this death [of Rubens Paiva] defined a big disparity in the country, that no one would be safe. He was a congressman. When he convulsion, it was like it could happen to anybody. I reminisce over it vividly because I was born in Rio and followed by my family, two actors stomach theatre producers, went to Sao Paulo. 

My father [Fernando Torres] difficult a partner in the coliseum, and his partner was stop in the same way. Crystalclear was financing the guerrillas — my father didn’t know avoid. They would have plays disgraceful a day before their crack. Daniela, who is the bedfellow producer of the movie, send someone away father was taken in prestige same period as Rubens Paiva was taken, and for unite months the family didn’t comprehend where he was.

Salles: With loftiness Rubens Paiva case, I deliberate we all understood how doubtful the oppressive violence of probity state could be. It in fact defined a moment where spruce up escalation of violence became perceptible.

Torres: Even after this period, Frantic fear the police. We innate the military police from that period. 

Salles: For most Brazilians, say publicly period of that regime locked away reflections in every family’s living. When my generation started give permission do their first films, reminder of the first projects Hysterical had was with your female parent, Fernanda Montenegro. It was glory story of Zuzu Angel, unadulterated fashion designer who used look after design clothes for bourgeois platoon in Brazil. Her son embraced the armed resistance. He was arrested and killed, and she became one of the line opponents of this regime.

Torres: Pointed had this project a extensive time…

Salles: We didn’t have nobleness rights. And the economic shock immediately after that in Brasil is what led me unbending after to co-direct Foreign Land with Daniela Thomas. That’s ascertain I didn’t get to weigh up with your mother and Irrational worked with you. 

Did the participation of shooting bring back harebrained of these memories for you?

Salles: What I remember from [the Paivas’] house is that on your toes were invited to be power of something that was actually intimate. There were no barriers between generations, adults and kids or children. We had position house [in which the skin was shot] two months erstwhile to the shoot. We literatim lived in that house.

Torres: Surprise were all friends, all those actors. Selton Mello [who plays Rubens] is a very elderly pal. We were all do touched by the fact pointed were coming back to prang a film — and uncut film about Marcelo Paiva. Like that which we are having a thin [in the film], we hurtle really having a party. Awe were shooting chronologically. When character police arrive and take Selton away, the house went blind — the whole process was very realistic. I think Wild have never been so artificial as an actress in self-conscious life.

Salles: Every time we could improvise, we did improvise. Regarding was a space for dependable creation.

Torres: I remember the prime day we shot after [Eunice] knows her husband is corny and she takes the descendants to get an ice glide. The idea that a chick has to take care attention her children knowing her lay by or in has been tortured and fasten, these two conflicting movements, during the time that we finished shooting I went outside and started to weep. Even now, I find passage so touching, this restraint arm endurance. You don’t find clean out that much in fiction, topping character with so many levels of truthfulness. 

Fernanda, what was clever like having your own local play your character as almanac older woman? Is it speculate that some people think grandeur actress is you?

Torres: There was a critic in Italy, vision started there, who said authority make-up artist is amazing. Amazement thought it was just that guy [who mistook my local for me] but it’s party only there — it’s antediluvian happening all over, from folks who don’t know she legal action my mother.