CASACINEPOA - TOLERANCE

INTERVIEWS
Maitê Proença
Roberto Bomtempo
Maria Ribeiro
Ana Maria Mainieri
Nelson Diniz
musical director
special effects technicians
art director
Costume Design

Maitê Proença, “Márcia”
A well told story and a surprising screenplay. According to Maitê Proença, these are the main ingredients that can make “Tolerance” a hit. It was because of them and the multifaceted character Márcia that the actress decided to work on the film. “Everyone likes a good story”, she says.
The film’s protagonist, she says that her character’s personality is revealed gradually. “Márcia has a very strong bond with her family, although it does not seem so”, she explains. Pragmatism, coldness, love and the problems it originates characterize the lawyer Júlio’s wife, according to Maitê. Differently from Márcia, the actress reveals that she blows up quite frequently, “I don’t accumulate life’s little intolerances”. Reminded of the open marriage issue, she says that it is “a mere detail in the couple’s life, because the film brings many surprises”.
Besides the script and the character, she also thinks that the production is very professional, without excluding friendship or affection. “The Casa de Cinema is a team of friends who like each other, they don’t just tolerate each other”, she comments, playing with the film’s title. The actress points out that in Rio de Janeiro and São Paulo, there is often tension around the set, and that in this shoot “the stress is only circumstantial, there is no hidden tension eating up the humors”, she concludes.
For Maitê, the character is the most important, whether you are playing it on television, on film or on the stage. Even so, she believes that the Brazilian Cinema is not yet established as an industry due to economic problems. “The concern right now should be to form audiences for Brazilian films”, she analyzes.

Roberto Bomtempo, “Júlio”
While distributing autographs and smiles as he left the set, Roberto Bomtempo found time to talk to his family on his cell phone and to give us an interview. Roberto’s high spirits are certainly due to the fact that he is working on a movie. “Film is my great passion”, he reveals.
The 36 year-old actor explains that his enthusiasm with the feature film “Tolerance” is due to several factors. Among the most important ones are his admiration for - and the resulting desire to work with - the team of the Casa de Cinema de Porto Alegre – as well as his immediate empathy with the character Júlio.
Bomtempo mentions that he has mostly acted in films where his roles required very strong characterizations, which is not the case in the role of the photographer Júlio. “The coolest thing about this character is that he is a normal guy”, he analyses. For the actor, it is this supposed simplicity that presents the greatest challenge to the actor playing the character: “I try not to “act”, but to think of his feelings”, he ponders.
Talking about the character’s feelings, he tells us that he had never done so many sex scenes on a film, but that did not make him nervous. “The cold weather and the relaxed way Gerbase directs the scenes stopped me worrying”, he says.
Besides acting, Bomtempo directs and teaches acting. He recognizes that the theater is the greatest acting school, as you rehearse for two months, and when the curtain goes up, it’s ready”. On the other hand, film is a different process, it “requires concentration through a certain period of time, making every little bit of a scene very important”, he concludes.
After shooting “Tolerance”, which is his 22nd film, his next project is a film adaptation of the play Dois Perdidos Numa Noite Suja, by Plínio Marcos, which will be his first experience as a film director. “I am very excited with the possibility of directing a film”, he says. While he waits, the actor talks about Casa de Cinema’s film, “I believe that it will reach a very wide audience, as it’s an erotic thriller.

Maria Ribeiro – “Anamaria”
The Casa de Cinema has the best screenwriters in Brazil. They are hot”. With this comment, the actress Maria Ribeiro shows her enthusiasm for being in the cast of “Tolerance”. The unpretentiousness and professionalism of the producers have charmed Maria. She met them last year when she came to the south along with her boyfriend, the actor Paulo Betti, and saw some of the shoot of the mini-series Luna Caliente.
Cast in the role of the sensual and intrusive Anamaria, she says this part is very different from the “good girls” she has played on television. She believes this character is a chance to change her image. According to her, “it’s more fun to play roles that have nothing to do with you”.
The 24 year-old Scorpio reveals that she has had a traditional upbringing, but to create the role of Anamaria she found inspiration in friends of her and in women who seduce just for the sheer pleasure of it. “If they find me a sex-symbol and that brings in the audiences to watch the film, it will be great fun”, she answers with a smile.
Even so, she finds it difficult to do sex scenes and she admits that in the beginning she was a little tense, but the good rapport with and the tranquility of director and production put her at ease. Another factor that helped in the preparation of those scenes was the cast itself. “I’ve known Bomtempo for some years and he has helped me a lot”.
Maria’s praise does not go only to the team of the Casa de Cinema, “where the hierarchy is subtle and everyone is treated equally”, it goes also to the people of Porto Alegre in general: “here even taxi drivers are more educated”, she says. Besides missing home, Maria’s only complaint is the cold weather. For the scene where she bathes in the waterfall, she intends to concentrate hard and forget the chilly wind that should be blowing in the next few days.
The adaptation to the Porto Alegre accent is also going smoothly. The actress appreciates the challenge, as it shows self-assurance on the part of the Casa de Cinema team, “who do not surrender, but value the land where they were born and live”, she explains.

Ana Maria Mainieri, “Guida”
This expressive 20 year old, with auburn hair, awaits for her orange juice at the Cataventos Café at the Casa de Cultura Mário Quintana. She has just finished one of her acting classes in preparation for her work on the film “Tolerance”. Ana Maria smiles when she talks to Últimas Notícias about her expectations from her first role on film. “I really believe in this film. I hope it is good and that I can play my role as well as possible”. Ana tells us that the screenplay attracted her because of the plot and also because it discusses political issues, which greatly interest the actress from Porto Alegre.
For the actress, her role – Guida - is a “different teenager, but she is sweet, perhaps even a little childish”, she explains, referring to the fact that the character tries to call her father’s attention in some scenes. In order to create the role of Júlio and Márcia’s daughter, Ana revisited her own past, searching for the adolescent that is inside each one of us.
According to Ana, the “harmony between direction and production” is a positive aspect in the making of this film. She points out that it is a privilege to work with the Casa de Cinema and with actors like Roberto Bomtempo and Maitê Proença.
“Tolerance” is the first feature film in Ana’s career, but she has been acting since she was 15 years old. Determined to work professionally, she admits that her love for the profession leads her to root for the success of the film. “It could be my passport to success”, she says. Presently she is almost exclusively devoted to her work on the film, although she has many plans for the future, even “taking a course and even acting abroad”.
Asked about the limits of her “Tolerance”, the central theme of the film, Ana says they are very broad. However, she ponders that depending on the situation, the old popular saying – one’s freedom ends where the next person’s freedom starts – is still valid.

Nelson Diniz, “Teodoro”
Originally a stage actor, Nelson Diniz, 35, plays Teodoro in “Tolerance”. He considers the character his first work on a feature film, although he did play a small part in Anahy de las Misiones. Excited with the possibilities of experimenting with film, Diniz says he really values the experience in the medium, and he is certain that working with the Casa de Cinema is a guaranteed learning experience: “The Casa de Cinema are the most professional producers of Porto Alegre”.
For the Rio Grande do Sul actor, who starred in several shorts, like Paulo and Ana Luiza in Porto Alegre and Two Films in One Night, among others, “Tolerance” requires a longer preparation for his role, with more time and situations to be examined and explored. According to him, when you act in short films “you don’t get a chance to explore the character in depth or to follow the development of the script”. Besides this “opportunity to grow professionally”, as he points out, it is a pleasure to be working with producers who treat everyone equally, without discriminating between starring and supporting actors.
Diniz tells us that the screenplay interested him because it dealt with the issue of the limits of relationships, be they romantic or social. He explains that he was attracted to the question “up to which point one is able to put in practice what one has decided to do in theory”, as well as to the issues of “Tolerance” with your fellow human beings. He also argues that Teodoro’s function is to present the land problem, the abuse of power and the issue of the limits in rural properties.
Concerning his work preferences – film, theater or television – Diniz admits that lately he has preferred film. As it is another kind of acting, he believes that rehearsals are even more important because scenes are shot out of order, so the actor does not have the preceding scene as a point of departure. “Any movement you do is magnified on the screen”, he points out. Even so, film is the only way the work of an actor remains registered, for good or bad.
Diniz is excited with the new surge of local productions and he argues that cinema cannot be reborn because it has never died. “What was reborn was the interest in investing in films, so more pictures are being produced now”, he points out. The actor stresses that it was not just film production that has profited from the new public and private investments, but all the arts. “The FUMPROARTE of the Porto Alegre City Council enabled the realization of several theater productions.
In terms of “Tolerance”, he admits that his “Tolerance” with his wife knows no limits, but “with Brazil it ended at least 5 years ago”, he says, “or at least since the days of that president, I won’t even say his name, but you know who he is”, he says with a superstitious smile and draws two Ls in the air. But he immediately changes his tone, as if to ward off ghosts, and returns to the film. “It is the first time I am involved with a feature film from beginning to end”, he concludes, pleased with his expectations from the movie. After shooting “Tolerance”, Nelson Diniz will be shooting another feature, Netto Perde Sua Alma, and, if all goes well, he will act in the play O Pagador de Promessas, which will be staged on the steps of the Das Dores Church.

Flu – musical director
Straight from the world of images to the world of sounds. Flávio Santos, a former bass player with the De Falla band, now Flu, along with the guitarist Marcelo Fornazier (nickname 4Nazzo) are the creators of the musical score of Casa de Cinema’s latest feature. Besides the instrumental track, they have selected - along with director Carlos Gerbase - songs by several bands that punctuate the film. A partner of the audio production company Deff, Flu has recently released his solo album with the recording company Trama, titled “…and the joy goes on”. He gave us this interview.
What is the work on the production of the score for “Tolerance” like? Do you watch the scenes and then write the music? What is the process like for the musicians?
We (4Nazzo and I) always work with the image. It is crucial to follow the director’s ideas. He knows the pace and the intention of the scenes. We generally show him a few ideas and from then on we start the final composition.
In your opinion, what is the difference between the work when you create the musical score for a film and composing in general?
On a film score you work with images that are already there, ready, and when you compose, the images are formed gradually inside your head.
Besides the original music that is being written by you and 4Nazzo, you have chosen songs by bands and artists from Rio Grande do Sul, like Dharma Lovers, Tom Bloch, Wander Wildner, Júpiter Apple, among others. How was the process of selection?
We had a lot of good stuff to listen to and to choose from, as we collected a lot of material from the bands. Gerbase made the final selection.
Did you see the filming of any of the scenes? From the scenes that you saw, which ones most inspired you?
I saw the mini-zoo scene at the park and some others at the studio. I think the end with the revelations about the crime will be the most instigating ones.
How do you see the Brazilian pop/rock scene right now? What about Rio Grande do Sul?
Here in Rio Grande do Sul it has never been so good. The best is that there is great variety of styles and a lot of character. Now, with easier access to recording and releasing independent CDs, bands are believing more in their own work and they are no longer dependent on the interest of a big recording company.
Your solo work has been very well received both by the public and by the critics. How has it been received elsewhere in Brazil?
They are still trying to define the kind of music I make. Actually my music is for people who have a “child’s spirit”. Children and women love it and have fun listening to my music.
Flávio Basso started calling himself Júpiter Maçã, now Júpiter Apple, you have changed your artistic name to Flu. What is the reason for that? Is it numerology or marketing?
My younger sister started calling me Flu in the mid eighties. Then my girlfriends called me Flu. Then my mother started calling me Flu. Now everyone calls me Flu.
What are your projects for the next millennium?
Besides producing the soundtrack for “Tolerance” here at Deff/Reclame, 4Nazzo will produce next year’s great sensation: Fu Wang Foo.
How far does your “Tolerance” go?
Up until a person says “this is how I am and I won’t change”.

Flávio Braga and Luís Carlos Quintarelli – special effects technicians
Two special effects technicians came from Rio de Janeiro with the paraphernalia necessary for the murder scenes. Flávio Braga and Luís Carlos Quintarelli talked to us about this kind of work in Brazil.
First, Quintarelli, 26, listed the effects being used in these scenes: a gunshot in the body, a gunshot in the forehead and a gunshot in the leg. He explained that for the gunshots they use a metal plate to protect the actor. Inside this plate there is a preservative, “a condom, filled with imported fake blood”, he says.
Besides the blood, they also insert in the plate an electric detonator, which is set off by a switch plugged into a 9 Volt battery. The technician also adds that the explosion can be “set off by remote control, depending on the case”. What we see and hear on the screen is the explosion and the noise, followed by smoke and blood flowing from the actor’s body.
But this team does not live off gunshots and deaths only, they also do explosions, rain and thunder, as in the commercial for the Mercedes Class A that is being shown on TV now. With 8 years experience in the market, the team has worked in all soap operas produced by Globo Television since Fera Ferida, besides specials like Xuxa and comedy shows like Renato Aragão and Casseta e Planeta. Their work in films includes Bela Dona and O Cangaceiro, among others. This is the first time they work with the Casa de Cinema.
But Braga, 28, thinks it is very complicated to work with special effects in Brazil, as in most cases, the directors are in a hurry and they want them to do just the most basic stuff. However, Braga says that in “Tolerance” they are getting a lot of support from the director, so they are able to experiment until they produce exactly what he wants.

Fiapo Barth – art director
“The set design in “Tolerance” is urban and contemporary”. For Fiapo Barth this was one of the factors that made it easier to define the guidelines for the art direction of the film. Having participated in the Casa de Cinema productions for 13 years, Barth – whose real name is Antonio – has been working with Gerbase since the medium length film Deus Ex-Machina and he says that “the crew is getting along really well”.
According to Barth, the studio allows greater flexibility in composing and creating the sets. He justifies his preference for doing art direction for the studio, as opposed to location. “You have to know the location beforehand and to adapt to what is already there, while in the studio you are a lot freer to create”, he concludes.
Fiapo, an architect, first became interested in set design when he started designing sets for theater productions. Afterwards he designed sets for commercials and for a program produced by the public television of Rio Grande do Sul. He then got an invitation from the directors Jorge Furtado and José Pedro Goulart to work on a film. His first work as an art director was on the short The Day Dorival Faced the Guard, directed by Furtado and Goulart.
Out of all his work as an art director, he considers these two his best work: A Matadeira (The Killer), by Jorge Furtado, “as it is almost theatrical, it is the most noticeable for the audience”, he explains; and O Pulso (Pulse), by Zé Pedro Goulart, “it is the most perfect one, the richest one in details. I created a morgue in the style of The X Files”, he says. Barth has also directed a short called O Trampolim.
Besides being an art director, Fiapo is also the owner of the Ocidente bar, a traditional spot of the Porto Alegre nightlife for almost two decades, located in the Bom Fim neighborhood.

Rosângela Cortinhas – Costume Design
“The costume design in “Tolerance” is really 1999”. That is the comment of the costume designer Rosângela Cortinhas – Rô – about the look created for the film’s characters. She explains that most of the clothes were bought, but at cost price. She points out that this kind of support given by some stores, deserve the production’s undying gratitude.
Having created the costume design on several films, including as Sexo & Beethoven, Um Homem Sério, Velho do Saco, Rô says that she has not had any major difficulties in “Tolerance”, as it requires a more contemporary look. She tells us that her most challenging work was on the film A Matadeira, by Jorge Furtado, as it required period costumes. Besides being a costume designer, Rosângela is also a screenwriter. She has written Ventre Livre, directed by Ana Azevedo, and Ângelo Anda Sumido, by Jorge Furtado, among others.
Rô considers that the most complicated look to create was that of the character Márcia, “because Márcia is not your usual lawyer”, she says. According to the designer, from the clothes they wear, we can see that the girl friends Guida and Anamaria are “happy girls”. She says that when she went to the stores to buy the clothes, the season’s fashion was full of grays and blacks.
“I’ve tried to create a colorful wardrobe for the girls”, she clarifies. “Anamaria, for instance, wears many shades of green”. Rosângela works with two assistants in “Tolerance”, Lica Stein and Cacá.

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