Rocha que Voa Page #5

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from Cabo Hueso, you know.

I never got that.

That was a long time ago.

Y0U CAN'T REC0RD MEM0RY

LIKE IN A FILM:

...in the role of Jesus Christ...

reincarnated in the body

of Che Guevara.

You see? It's a kind of

surrealist "cangaceiro".

He was always talking about

"cangaceiros", always.

And I'd say to him, "But we

have 'cangaceiros' here, too!"

It was a Sunday,

we were all sitting here.

All of a sudden,

everyone was silent.

It's the oneiric journey to the mythic

center of Pan-American unconscious.

"Cutting Heads"

is a film about madness...

madness, my friends!

The madness of violence.

Art is, by the way, a symbol...

So much violence...

committed in the name of peace,

of humanism, of love...

of hope. "Cutting Heads"

is that. Do you understand?

It's about my paranoia,

my madness...

my fantasies.

It's a game against death.

Francisco Rabal in the role

of dictator Porfrio Diaz...

from exile to Eldorado.

No, Cuban cinema for me

is an opportunist cinema.

Some moments they

made good films...

in other moments

they could only keep...

Cuban cinema as such.

Cuba cannot be seen outside the

international economic context...

because Cuban people

is very into politics...

and depends on

the worid economy.

We are not like the people

of other countries who depend...

on their own economy.

There's no such thing

as beautiful art and ugly art.

The concept of beauty

is connected to the concept...

of "political truth".

The revolutionary truth...

is beautiful, and the real

theoretical assumption...

of a problem results in a style,

a beautiful style.

So, for example,

the current art crisis...

when you say that "theater is in

a crisis" or "cinema is in a crisis"...

"literature is in a crisis",

"poetry is in a crisis"...

what happens is...

A character.

Glauber Rocha was a character.

And Brazil has many millions

of people more than Cuba.

And in Brazil he was

a very important director.

In Brazil, with that many

millions of people!

lmagine it here! Nobody paid

much attention to him, because...

he was a normal guy who was

making his films.

We are Cubans and Brazilians.

I fell in love with his honesty...

...and his simplicity...

- His simplicity.

He was a simple human being.

He said he made movies

without petulance.

And the Cuban filmmakers

are like that.

Here we don't have this...

movie star thing.

We're lucky to be directors.

Revolution ended that...

-0f curse, cinema is of the people!

- ...and proved that...

first, we must be humans.

First, we are humans...

then we are directors.

If we are human...

we can be good directors, good

photographers, good lathe workers...

good drivers, good carpenters,

good physicians...

So, I think today

intellectuals must...

leave their privileged position...

and join the political process.

While they are...

entering the political process

and becoming...

combatants, revolutionaries,

political activists...

they will be...

entering collectivity.

They'll become a class

of men who work...

within a revolutionary process.

It's obvious they'll be studying...

contributing to the study...

and the elucidation of problems,

but without...

being on a privileged position.

Why? Because we're

in the middle of a process...

which doesn't end.

A process that put us nearer...

an ideal society where...

everyone can express

himself freely...

without coercin,

where people are...

more carefree and

live life more fully...

in its most important aspects.

That is, a society

we dream about...

but a society we don't have yet.

There's a moment in the film

is think is great:

it's the moment where

Sergio's reflections...

lead him to believe...

to think that...

in an underdeveloped society...

like the one

we keep on living in...

among other things, people...

need someone to think for them.

And that, for me, is a problem...

that we need to solve.

Every citizen need...

to think by himself.

When that happens,

the film will be very old...

and I will be very happy for it...

getting old and becoming...

just a testimony of a time of fight...

of a difficult time.

0UR PR0BLEMS

ARE THE PR0BLEMS

0F UNDERDEVEL0PMEN When intellectuals revolutionize...

demystify and become...

messengers...

a more profound and

coherent intermediary...

of the people's needs...

the activities of creation

and of spirit...

gain a much higher value.

It's clear the example...

of the non-intellectual, the

intellectual at the people's service.

In Cuba's history is obvious...

the figure of Jos Mart,

who is the best example...

of what a Latin American

intellectual would be.

But he can't be considered...

an "intellectual" under

a bourgeoisie perspective.

Mart is a poet and

a politician of the people.

For us, Glauber represented,

at that time...

a window to the worid,

a door out into the worid...

because we were living

in bad times...

with very little information.

The American embargo

had just begun...

and the cultural information

arriving was very little.

So, Glauber represented...

the main door to Latin America...

in Cuba, and the approach

to us, Cubans.

That was some 30 years ago.

Me met him 30 years ago

in Havana.

That's when he came to Cuba...

to show his films for the first

time, and to live here.

We would often meet at

Nancy Gonzlez's house...

which was a meeting point

for us.

We would meet playwrights,

filmmakers...

writers, poets...

Everyone came by here.

And a person who...

used to go to Nancy's was Titn,

Toms Gutirrez Alea...

who became a good

friend of Glauber's.

I was very nervous

when they told me...

that I was going to meet a famous

filmmaker, Glauber Rocha.

I was kind of shy...

because they said he was

a big cinema name...

a very important person

with many awards.

I was a little nervous.

But when I met Glauber...

he seemed like a big boy...

someone who needed

protection and love.

I think he really needed love.

And, above all...

he was thankful for the affection.

And he also thought

the house was agreeable...

and big, he enjoyed walking...

down the corridor

and observe...

because he really loved

the rooms of the house.

Sometimes he would

go up on the flagging...

Iook upon Havana

and start to tell stories.

He would tell stories

on the flagging...

thinking that, one day,

he could make a film with them...

or write a story.

I'll tell you this: in Brazil,

intellectuals have never...

had a very important role

in politics.

- Like now?

- No, like those days.

Like those days.

Also because the students movement

was created, above all...

inspired by the intellectual movements.

The spontaneous resistance...

was in the newspapers,

then in the cinema...

and in the theater,

with works...

of revolutionary

cinema and theater...

of a left-wing press

that grew a lot.

Theses groups

of intellectual labor...

met with the student masses...

and also with sectors

of the working mass.

The irritation in the country

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