I would take a page from the series' book and focus only on a manageable number of characters in each episode, working everyone in eventually as the numbers began to dwindle later in the story. Just like in real life some, such as the so-called 'ex-gays', compete in order to present a sociopolitical agenda before an international audience; others, such as the former child stars, do it to gain visibility in the entertainment world; while still others, such as the mother and daughter team, do it for the adventure and the escape from their ever day lives.
I read the piece when it first appeared and immediately suspected it was made up — piped suspiciously and too perfectly, in the slang of the time.
By being able to include and absorb the gestures, dialogues, looks, and mishaps that are produced by my presence and that of the camera amongst the characters, I can achieve an impression of truth and sophistication of the narrative I could never get to invent myself.
Reality is what exists all around us, but it is up to us to have our eyes open and discover it. I love not knowing where the script will take me when I start writing. Story from Ferentari. Mario unflinchingly turned thousands of pages of conversation transcripts and emails into his most ambitious novel yet and the competing fans developed fans and detractors of their own.
The reporter was finished with journalism and the Pulitzer was returned. Can you describe the specific relationship between reality and fiction in your film at TIFF? There is an avoidance of smart phones, for instance.
We plunged into the realities of an industrial zone in the northern suburbs of Lisbon that was about to be dismantled and shot the film there. Made up or reported, his stories enchanted and lingered in the mind.