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So the search for a father in Central Station is also a search for a country.
So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.
On the contrary, I'm a strong believer in the necessity of imperfection coming into the film.
No, I worked a lot for European television, doing documentaries in Brazil.
My father was a diplomat for part of his life and I jumped from country to country and culture to culture.
It was a complex endeavor so without Robert Redford's constant support we wouldn't have gotten to the end.
I'm much more interested in living specific experiences in films.
I went to Cuba maybe eight or nine times.
I did documentaries for maybe 10 years before I turned to fiction films.
I come from Brazil, which is a Portuguese speaking part of the continent.
I come from a country and also a continent whose identity is in the making. We're a very young culture, and I think that things are not yet crystallised.
But I also think that the more you reason collectively about what the project should be at the beginning of the process, the more you can improvise later.
And my generation in Brazil was influenced by Cinema Novo. So we're echoing what's been done way in the past.
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