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Conversation with Pedro Costa. the Encounter with António Reis

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Conversation with Pedro Costa. the Encounter with António Reis DOCUMENTS · Cinema Comparat/ive Cinema · Vol. III · no. 6. · 2015 · 17-22 Conversation with Pedro Costa. The encounter with António Reis Anabela Moutinho, Maria da Graça Lobo Following the interview you granted us for the as for the Cinema Novo of Paulo Rocha and Fernando Lopes, catalog Os Bons da Fita—in which you spoke quite a lot about I had only a vague idea after watchingOs Verdes Anos (Paulo António Reis’s role in your personal and professional life— Rocha, 1963). I had watched it on television or because of my we would like you to talk about this topic in more detail, parents’ influence—especially my father’s—and from the film particularly about the fact that you were a student of António I obviously remembered Isabel Ruth, who I consider a type of Reis. Portuguese Anna Karina, the most beautiful girl in Portuguese cinema. And that was all. I started Film School in the year ’79 or ’80 (I don’t really So, I arrived at the School with a childhood friend; we both remember, although I’m sure I finished in 1983 as the degree saw an ad in the paper and decided to quit our degrees (his was supposed to be three years long). The School, which was was History and mine Literature). Our interests were mainly still “hungover” from April 25th, didn’t have an organization the punk music and philosophy of those times (violence, chart, programs or a stable faculty; on the contrary, it had a etc.), and so we soon chose to sit at the end of the classroom, series of employed professors that were normally replaced hating everyone, provoking as much as we could and doing after a few months, so there were big changes in this sense… everything we could to be loathed. It was very funny, because In fact, there were even professors that almost never showed the environment at the School was very favorable for us to up, like António Pedro Vasconcelos—who was supposed to “win.” teach Editing—or others who disappeared completely, such as Jorge Alves da Silva, who no one knows who he is nowadays but But why? nevertheless taught Film Analysis. And we had three or four technical subjects—Photography, Sound and aspects related Because it was absolutely idiotic. That is, we lived the “terror” to Acoustics, with Alexandre Gonçalves who is still a teacher of structuralism. And although it’s true that there is no better today—, that were more or less maintained, perhaps because cinema historian than Gilles Deleuze, we lacked simplicity. The they were taught by technicians, down-to-earth people, so to student that was considered the best in the School (who pointed speak. And the two or three professors that I liked the most at us saying ‘That one over there is a genius…!’) was a 22-year- and with whom I learned the most: João Bénard [da Costa], old guy, with Bataille under his arm… ‘Be careful! He has done who taught History of Film (obviously) and who wasn’t very a 40-second short film which is absolutely relevant…!’ For us regular but at least had us watch films (there was an agreement this was disgusting, and even because shortly after someone with what in those times was the IPC that granted the display wrote on a wall that he was homosexual, or things like that… room to the School for didactic purposes) and discuss them Things that are still written! and write papers about them; or João Miguel Fernandes Jorge, who taught a kind of Seminars, long, about something vaguely And now… poetic and applied to cinema (it was, on the other hand, very beautiful, as João Miguel was—and is—an excellent teacher); For example, there was an Italian producer, about whom I and António Reis. read a lot, which had done peplum films, Cottafavi. I loathed his movies, but I had seen quite a few at the Roma and the António Reis was someone whom I did not know. In fact, I Alvalade… Now, the School “was” Straub, Ozu, Godard… So didn’t know anything about Portuguese cinema; and that which I decided to write, with huge red letters (and it’s still there) “To I watched—alone, in those local cinemas that existed in those the best Ozu I oppose the worst Cottafavi.” It was around this times, like the one in my neighborhood (Arroios)—allowed time that Reis started “winking” at us… During lessons we me to mainly access “old films” of John Ford, Raoul Walsh, were very quiet, we never took part in them… Well, rather in etc. Therefore, I arrived to the School without prejudices [in some lessons, because in Reis’s I started being scared… relation to Portuguese cinema] but also arrogant and insolent. For me, Portuguese cinema was those comedies of the 40s (which I personally hate; I don’t see any quality in them and I consider them completely fascist, without any interest) and, Cinema Comparat/ive Cinema · Vol. III · no. 6 · 2015 17 CONVERSATION WITH PEDRO COSTA. THE ENCOUNTER WITH ANTÓNIO REIS Bénard [da Costa] (who was much more of a professor, in Of…? the academic sense of the word, although he was sometimes considered a friend), Reis was truly the giant. “Giant” was the Of not being able to follow him. I saw that he was a “giant.” expression he used, when he told us, autodidact as he was, João Miguel [Fernandes Jorge] was much more approachable, about when he had met two or three people that he referred because of his age and his interest for rock music, that brought to in that way: Rivette, whom he considered the best critic and theorist of cinema, or Straub, or Jean Rouch (people he together people from the 20s and 30s generation, since that knew well), or Tati, or João dos Santos… According to him, it’s music included English and American authors that went necessary to “ride on the shoulders” of giants during a certain over to cinema, art or theatre. We ourselves also played; I did period of time. And I had the feeling that I had to make the posters, another guy, a graphic artist, he wrote novels, many most of it. Instead of continuing to behave smart-alecky and did paintings... Everything had to do with two or three slogans insolent, of being defensive or attacking, with Reis I had to or words: “violence,” “poetry,” “brutality,” “passion”… Now, listen. I think I recognized something in him and I think he while João Miguel was more close to us, António Reis was must have recognized something in me, creating complicity more distant, first of all because he was a country guy, who between both of us. With many others as well, during the years: had the mark of the land, from how he dressed to the kind of we were the chosen ones. Indeed (and I think that anyone cigarettes he smoked… Without filters, obviously, sometimes you speak about the School with will confirm this) there was “Definitivos”… I remember the change towards the “SG something of “choice,” of proximity, that translated in crossing some borders, like going to his house. I think I crossed some. Filter”… So, I never missed any of his lessons, because he was also a But why? What was so special about it? constant professor. He loved the Film School, because he loved to teach and talk to us. But not only about cinema, from one Nothing really, it’s just one of those details that come to shot he would go to other journeys, cave art, India… He wrote mind when people die, and we remember certain gestures or very little, and he did it, I think, in the sense of only having to fragments… For example, in the time we are talking about “write the minimum.” –by then we knew each other very well– he had brought his daughter so that I could portray them. The photo came out Perhaps that’s why our “encounter” happened, in the sense badly, it was all black and… he gave me a blow, ‘You have to that I entered the School with very straight and select ideas, change profession.’ After that I secretly took another one, which according to which cinema has to have limits. For me those by chance came out well, and that’s why I offered it to him, to were: not use special effects, avoid gay cinema, be interested in make peace… But he was like that, a brutal guy. Brutal in the very violent things. Without these limits, if I don’t think this sense of “direct.” way, I’m lost. From them, I start to work. And António Reis would agree with me, he would say: “That’s the way you have to Frank? do it: continue, I’m here to help you.” He opened some doors for me, some of them unconsciously, others that I didn’t even know Direct. He made a direct cinema and he himself was direct as existed because I hadn’t found them, at school, in the books well. I went to two or three lessons, in the beginning, where I read or in the movies I watched. It was somewhat a vague he “dismissed” three or four students mercilessly, with regard encounter, but there was, in fact, an encounter of violences. Reis to a paper or a composition about a film. ‘I believe this is not had a tender violence and a strong fragility, always balanced your thing.’ And it was like that.
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