There was some evolution of your character from first to second?
JP: From first to second movie there was a slight attempt that the character looks more solid and more prominent at the same time. In bullet 2 the character Bino has one or two lines and began to find a certain joke that the character was so out of all that not talking is much fun and the catch was that. In the return, we chose to draw any kind of discourse, beyond the typical IO. In the third, the character development is less, because the contents of this character are none existent. Not having any kind of evolution. It's the kind of person who is absent from everything, and everybody wonders why is he in the middle. I think he represents in a sense some Portuguese population, the absence, the lacked of adaptation. Returning to the evolution of the character, our purpose was not to growth.
It took a demanding physical fitness? To pass this type of absence for the screen is not enough to be still.
JP: Yes, I think so. Because it would be much easier as an actor and I consider myself an amateur, to use the word, because we can use the nuance of words to convey feelings. I see this in many films and theater. The physical part is harder, because there is no so exploited and no so obvious, although I have no term of compareson. A little while back, we were filming two scenes that took some time because it was necessary that I had a certain facial expression, in a certain place and it took a lot. And is much easier if I had to shoot two or three lines and used the best one.
As a person that goes to the movies, what do you perceive of the Portuguese cinema? There is a public? "bullets and cookies" is an isolated case.
JP: I think that this isolated case; it is not by chance that appears. It is the result of the efforts we put in the project and is reflected in the film. I believe that if there were more people do the same that they would have the same or more success, because it is a matter of working. We battled a lot for this project, even if not today tomorrow and we may be some day, as it happened. Regarding the Portuguese cinema, I think there are very good and very bad things. The problem is the distributors, they show what they want. If you have 40 movie theaters to show the film maybe it will be a success, I don’t know. If nobody does show it, nobody knows.
But now we have the internet which is a most democratic medium that allows the dissemination of works.
JP: Yes, you see some videos on youtube and often do not know if we call them movie? In a philosophical approach is a small note of reality, the child who hit another at school, under the conceptual point of view. But, on the assumption that films are small, we can pass them in a democratic manner. However, they are pieces is not a hole of telling a story and that’s a movie, in the more classic sense. Assemble a work. It's a piece of reality that is portrayed in a more artistic or less way. It takes hard work to think like we did, write a script and not wait for a grant. If you struggle for your project perhaps may not be as difficult as you think. We cannot just sit on the couch and click on to the next video.
