"VIDEOFILMES PRESENT" ""AT THE EDGE OF THE EARTH"" "IN 193O, 21-YEAR-OLD MÁRIO PEIXOTO" "MADE IN BRAZIL ONE OF THE" "MOST BEAUTIFUL AND INNOVATIVE FILMS" "IN THE HISTORY OF SILENT MOVIES." "IN 1998, BRAZILIAN FILM CRITICS AND FILMMAKERS NAMED "LIMITE"." "HIS DIRECTORIAL DEBUT" "THE MOST IMPORTANT FILM WORK EVER PRODUCED IN BRAZIL." "IN 1992, AT 84, MÁRIO PEIXOTO DIED" "WITHOUT EVER HAVING MADE A SECOND FILM." "Reality for me has no substance..." "I'm afraid." "I certainly see it, but that 's all." "And if I refer to it, it 's in the tone one uses... to refer to things that don't hinder us... for they don't affect us." "Reality makes no matter to me, nor does it alter me." "Imagination, however, replaces all, convincingly." "As a matter of fact, that 's all there is to me." "I thrive on it." "It is what truly moves me." "I create and erase it at will, like the halo of a breath." "My pain is physical, and yet I live outside of reality... which, moreover, is ugly... noisy, unharmonious, and exhausting." "MÁRIO PEIXOTO CLAIMED HE WAS BORN IN 19O8," "IN BRUSSELS, BELGIUM." "BUT THERE'S EVIDENCE HE COULD HAVE" "BEEN BORN IN TIJUCA, RIO DE JANEIRO." "IN 1927, HIS FAMILY SENT HIM" "TO STUDY IN ENGLAND FOR ONE YEAR." "THE DIARY HE WROTE IN THAT TRIP" "IS FILLED WITH THE ANGST AND DOUBTS" "WHICH HAUNTED HIM ALL HIS LIFE." "On certain days, I'm inclined to write." "Ideas pop easily into my mind... and my sadness is less poignant than usual." "Sitting here in my study... facing night 's darkness, it got me thinking." "And the thoughts I think are as dark as the night outside." "ENGLAND'S DIARY, WRITTEN AT 19." "I gazed at the moon... then looked around to remember the things that surrounded me." "Will my life go through many changes, as of now?" "Will I have many surprises?" "The moon just smiled at me, as if saying:" ""Wait, and you'll see."" "Often I wonder: "What 's the point in writing a diary?"" "Here in these pages, I jot down my thoughts with no restraints." "Perhaps, years from now, rereading these lines, I'll sigh and say:" ""Ah, myself at 19!"" "How I long to revisit those years."" "Often I think... as if I were actually seeing my thoughts." "Memory is one of the most perfect gifts nature endowed men with." "March is over." "That 's one month less." "Now the month called April is ahead of me." "If I were able to rename things..." "I'd call it December, so 1927 would be over." "I wish time would fly." "All here in England is abominable." "Every day is the same, rain and more rain, all the time." "Now I see the truth in grandma's words:" ""The English are cold and stiff."" "So far, I have done nothing I'd really wanted." "I'd like to become an actor, but if I told my father... he'd certainly get cross at me." "So it 's best to keep quiet." ""Metrópolis", by Fritz Lang I've finally seen Metropolis." "What an amazing film!" "The theater was packed." "Brigite Helm was wonderful... but the hero was awful." "I feel a certain angst when I think these eyes... watching today's eclipse will be dead before the next one." "I'd like to know what people's thoughts will be in 1999... when they see another eclipse, and think about the one we saw today... on July 29th, 1927, in England." "Nishie, Hide, and I went to the movies to see Buster Keaton... in "Battling Butler", a very funny film." "I'd never had friends before, but now I've made two." "They are charming lads... and perhaps the only important thing I'll leave behind in Hopedene." "My family wrote me, instructing me to return to Brazil at once." "I'm in a pitiful state, part joyous, part sad." "Will it be good to leave?" "Will I ever be back?" "Yet again, the sound of the trains fills my ears... and quickly fades away... leaving its echo behind." "When I first saw "Limite", I was shocked." "CARLOS DIEGUES" " FILMMAKER Mário's film pointed at the direction... cinema would have taken, had it not been for the advent of talkies." "His film is such a synthesis." "I have yet to understand... how a boy, an 18, 19, a 2O-year-old... however old he was, lost here in Brazil, though he'd studied in Europe... how did that boy, along with Edgar Brazil... in a country devoid of cinematic tradition... succeeded in making such a synthesis of what was happening." "Moreover, it hinted at the direction cinema would have taken... naturally had its progress not been cut short." "The cinema of "Limite" will be lost in time... as a possibility cinema never fully realized." "The idea for "Limite" came to me by chance." "I was in Paris, having left England... where I studied." "Passing by a newsstand..." "I saw a booklet showing the photograph of a woman... with her chest embraced by a man's handcuffed arms." "It was a supplement, called "Vue"." "I walked on... but that image lingered on my mind." "I immediately envisioned... a flaming sea, and a woman, clinging to a piece of a shipwrecked boat." "That night at my hotel, I outlined "Limite's" first scenes." "I didn't know what I was doing." "I didn't write the film in chronological order." "I wrote those and a few more scenes, randomly." "When sleep overcame me at dawn, I put it away." "The following year, visiting Brazil... we watched a film by Humberto Mauro... entitled "Braza Dormida"." "Later, while we sipped coffee, and chatted..." "Brutus suddenly said:" ""I really liked Humberto's film." "There's acceptable cinema..."" ""being made in Brazil." "What if we, our group of bums..."" ""also made a motion picture?"" "Then I suddenly came out with this:" ""I might have a written outline that could work."" "Instantly, in one of his outbursts... he practically stuck a finger on my face, and said:" ""Well, then, Maçarico..." That 's what he used to call me." ""I urge you to bring it tomorrow night."" ""I want to see this said outline."" "The next day, I brought my outline copied on a notebook... expanded almost to the length of a feature screenplay." "Brutus read it, and found it acceptable." "Upon our return to Mme. Schnoor's, we decided to pitch it to..." "HOME OF RAUL SCHNOOR'S Ademar Gonzaga, whose name..." "STAR IN "LIMITE" I was not familiar with then, so I wrote it as Luiz Gonzaga." "Gonzaga read the screenplay and argued... that a script of that nature... should be directed by the same person who'd written it." "He referred us to Humberto Mauro... who had an identical opinion... and told us to approach a friend of his, cinematographer Edgar Brazil." "Edgar met with us, was given a copy of the script... and said he'd give us an answer within two days." "Two days later, he showed up at Mme. Schnoor's... saying he'd read the screenplay... on a bench at the Botanical Gardens." "He'd liked it and would gladly shoot it with us." "We were then faced with casting the actresses... to co-star with Raul Schnoor and Brutus." "A cousin of mine who worked at Bering, Jorge de Mattos... referred to me one of his employees... named Alzira Alves... who was given the stage name of Olga Breno." "She used to sell bonbons... at their candy store, on Rua Sete de Setembro." "I was summoned to Bering's administration... where his cousin told me to walk, and then asked:" ""Would you like to star in a film?" I said:" ""More than anything... but my mother won't allow it." "And why not?"" ""Because she finds it indecent, I'd get a bad rep."" "He assured her it was a serious movie... with no nudity scenes." "Then I took the train and went to the farm." "We left for Mangaratiba in 193O." "It was quite an adventure." "I was so young, practically inexperienced... but we were fearless in our determination to make this film." "The other female lead was found in one of Gonzaga's albums." "TACIANA REI, STAR IN "LIMITE" She was called lolanda Bernardes... but adopted the stage name of Taciana Rei." "SANTA JUSTINA FARM, 193O We stayed at my uncle's farm... who gave us a wing of the house, transportation, and workers." "SANTA JUSTINA FARM, 2OOO" "OLGA BRENO, STAR IN "LIMITE" I miss all that." "The friends I made... that camaraderie and affection... the kindness they showed me." "I played a lot with Helena." "We were both kids." "We'd put on straw hats, and go fetch eggs." "There was a negro there, an heir to slavery... who Helena enjoyed teasing." "I'd sit and watch them, laughing at her." "I expected every daybreak anxiously... eager to follow them to the locations." "We set base and lived on the farm." "We'd leave at sunrise, in Bye-bye, our car... to shoot in various locations... we'd scouted the day before." "Later, in the season of calm waters... we set out to sea." "We rented a sailboat, where we shot all scenes set at the high seas." "We spent several nights on board because Edgar had designed scenes... which required that filtered light of daybreak, right before sunrise." "I framed each shot, and Edgar... always discreet and efficient, shot them to perfection." "For our travelling shots..." "Edgar devised a litter, carried by 2 men ahead and 2 in the rear... in which he shot with his camera." "He choreographed them, like dancers." "When those on the right put their right feet forward... those on the left moved their left feet, not to sway it." "He coached my uncle's farm workers... who worked throughout the shooting in that synchronous mode." ""Limite" was shot with several cameras." "One was rented in Cataguases, a hand-cranked Hernimann." "We then bought a hand-held spring Kinamo... which shot only 3O meters of film." "Then we had a Mitchell, borrowed from Ademar Gonzaga." "And, finally, a Parvo, a Debree, Carmen Santos lent us." "Without Edgar Brazil, "Limite" could never have been made." "EDGAR BRAZIL, CINEMATOGRAPHER OF "LIMITE"" "He was such a sourceful man, amazingly skilled." "Say, equipment then unfeasible to import... he built himself in Brazil." "It was the 1st use of panchromatic film here." "He introduced it." "He argued: "This film's photography requires panchromatic film..."" ""with its nuances, which can't be produced otherwise."" "He devised many other pieces of equipment." "A lift, which is perhaps the equivalent of today's cranes... and several other parts for his cameras." "He set up his own processing lab... where he'd print the dailies at night to screen them the next day." "Mário showed up here..." "MANGARATIBA'S RESIDENT and people took him for a student." "He was a refined young man." "He'd spent some time here alone first." "Then when "Limite's" photography started... he brought his crew." "Edgar Brazil came first... and began scouting for the locations he'd use." "Mário saw the whole film in his head." "They had meetings to discuss what the action would be like." "When they shot in this street up here..." "I'd leave the hotel to watch Edgar Brazil filming." "The scene where Raul Schnoor is seen shouting... was shot at the hotel's backyard." "Mário instructed him:" ""Shout 'Mário. "'" "And he went: "Ma..."" "Mário was a special person." "He had a unique insight, and saw things... in a different light." "He was magnetic... and all who came close to Mário felt his appeal." "To all, he came across... as a laid-back man." "In some circles of the Brazilian film industry... most thought it was impossible to top "Limite"." "When I saw it, I said: "I agree"." "FILMMAKER "Limite" is the best Brazilian film... ever made, I think." "Mário Peixoto had total freedom making "Limite"." "He self-financed it and... hired a small crew, fine-tuned with him." "There was no pressure whatsoever." "Here was a talented young director with total freedom to create." "ON MAY 17TH, 1931, THE CHAPLIN FILM CLUB" "PROMOTED THE PREMIERE OF "LIMITE"" "AT CAPITÓLIO THEATER, IN RIO DE JANEIRO." "THE COMPLEXITY OF ITS THEME AND ITS SOPHISTICATED STORYTELLING" "LEFT THE AUDIENCE BEWILDERED." ""LIMITE" WAS NEVER RELEASED COMMERCIALLY." ""Limite" never made any money." "It couldn't have." "That wasn't my original intent." "My goal was to show... time is an illusión." "It doesn't really exist." "That 's what "Limite" was meant to prove... and I think I succeeded at it." "BEFORE "LIMITE'S" WRAP, MÁRIO MET ACTRESS CARMEN SANTOS." "THIS ENCOUNTER, FILLED WITH EXPECTATIONS" "WOULD MARK BOTH OF THEIR LIVES FOREVER." "I remember when I first met Carmen Santos." ""ARGILA", BY HUMBERTO MAURO Her voice was unlike any other... unique." "She was intelligent, human, and extremely sensitive." "Ed had told me "the lady", as Brutus called her... used to watch all of the rushes of "Limite"." "Intrigued by what she saw, Carmen asked me to write a screenplay... which would make her an unquestionable star." "In return, she'd let us do "Limite's" post-production at her lab... free of charge." "I wrote the story even before wrapping "Limite"..." "Carmen Santos excited at the chance of making a film with her..." "Carmen, the greatest diva of that time." "I also invited Carmen for a cameo in "Limite"... with Raul Schnoor." ""Drowsiness", its original title, was changed at her request." "She feared it hinted at the effect it would have over audiences... driving away filmgoers, ever prejudiced against Brazilian films." "Aboard a city bus..." "Brutus and I debated over its new title... and I kept repeating this line:" ""'At the Edge of the Earth', where the things of the spirit begin."" "He accepted it immediately... but, in an admonitory fashion, he added:" ""Listen, Maçarico, enough of feet..."" ""hairs, mud, bars, winds over prairies."" ""Excessive repetition makes them tiresome."" "That evening, the lady accepted our suggested title." ""AT THE EDGE OF THE EARTH"" "It became the biggest... and most expensive Brazilian film ever made." ""AT THE EDGE OF THE EARTH" THE SACRED DAWN OF THE NEW PATHS OF BRAZILIAN CINEMA" "Its sets were dismantled for transport." "The trip took 4 days, along impassable roads." "All was ready for shooting." "Only Gupi's cabin had to be built from scratch." "I can still visualize..." "Ed painstakingly stitching the cotton lining for the ceiling... which was built to open up... and let the sunlight in." "Marambaia was a paradisiacal place... and our daily routine became a challenge... for we were obsessed with attaining perfection." "A GREAT DREAMER OF BRAZILIAN CINEMA" "Edgar built the lab himself... and devised the whole water filtering system... with rubber pipes." "At night, the monkeys... from the wilds of Marambaia... would disconnect them, flooding the place." "An ordeal the next day." "The monkeys used the pipes as a swing... disconnecting the whole thing and causing the morning floods." "We started using mistletoe to catch them... or drive them away, for we'd never kill them, of course." "Carmen would play a writer, a sophisticated city woman... who had moved to the island to write a novel." "There she meets Gupi," "Raul's character, who represented sincerity, beauty, nature." "Brutus was Marcos, her ex-husband... the island's smuggler." "As seen in "At the Edge of the Earth" existing footage... its visuals were even more beautiful than "Limite's"... cause now we had greater resources." "FOOTAGE FROM "AT THE EDGE OF THE EARTH"" "Hordes of visitors and publicists came from across the country." "CARMEM SANTOS, THE STAR" ""AT THE EDGE OF THE EARTH" THE MOVIE THAT WILL SHOW" "TO BRAZIL THAT BRAZILIANS CAN ALSO MAKE" "MOVIES WITH ORIGINALITY AND INTELLIGENCE" ""AT THE EDGE OF THE EARTH"" "A HONEST PRODUCTION OF BRAZILIAN CINEMA" "FRAGMENTS OF "AT THE EDGE OF THE EARTH"" "Edgar and I employed clever little tricks." "Often, on cue... we'd shoot the cast without their knowledge... which resulted in greater spontaneity... and presented us with surprising performances." "I remember Carmen's scenes were terrific." "I never pushed her to be over the top." "Only prompted her... to do her best, within her possibilities." "Only the downpours, ever stronger and more frequent... would stop the shootings... when we'd all seek refuge in the lab." "There were also moments of relaxation... with the rain tapping on the tin roofs." "Carmen made frequent trips to Rio... to attend to personal affairs, causing delays in our plans." "Carmen Santos' constant absence... left us apprehensive and tense." "We'd then shoot Raul and Brutus' scenes... who embraced their roles... competitively, as if in a mutual challenge..." "FRAGMENTS OF "AT THE EDGE OF THE EARTH" for the best performance." "That is evident in their scene at Pedra do Sino." "Carmen had other concerns besides the film... and tried to juggle them, with all her stamina." "Her crises became more and more frequent." "She'd return from Rio... stressed out and looking depressed." "One, two, three times... they disrupted the shooting." "She'd seek seclusión at the top of Pedra do Sino... in introspective bouts, like the ocean's fanciful mood swings." "I kept shooting until it was no longer possible... for Carmen's continuous absence... made our work increasingly difficult." "I put up with it as long as I could, with two breaks." "First, my uncle, Victor Breves, told me:" ""Nephew, you simply must..."" ""act like a gentleman." "She's a lady."" ""Please get on a boat and resume shooting."" "The second time, Brutus intervened, saying:" ""As a friend, I urge you, Maçarico..."" ""to make amends with the lady..."" ""just this one time."" ""But if your problems persist..."" ""do as you wish, for I won't say another word."" "Then one last catastrophe overcame us... when Carmen wouldn't leave her bed... as if dead." "It was pouring when I left." "My departure was calm, almost funereal." "I presented her with a script and left... with a pang in my soul." "She didn't utter a word." "Raul and Brutus left with me... but Edgar remained on the set, siding with Carmen Santos." "I felt the weight of a memorable phase of my life... which would never return." "It filled me with angst and omens... as if a curse of guilty had descended upon me in that room... with the exodus of my belongings." "Would I ever return there?" "To date, I've been paying for my mistakes." "I'm stuck with them." "Maybe I should've acted otherwise, without feeling belittled." "But how could I... so tender in my years... enter the maze of the human soul... to understand the troubles dictating Carmen's life?" "She was a brave woman, and went on with the project." "Prompted by Ademar Gonzaga... she invited Otávio Gabus Mendes to direct... a film versión of José de Alencar's novel, "Senhora"." "They kept our sets and the title... cause much had been invested in its marketing." "Three years went by till I saw the lady again." "Our reunion took place in a newsroom." "She appeared at the doorstep, came straight to me... and hugged me wholeheartedly." "I felt awkward." "OVER THE CREW'S EIGHT-MONTH STAY IN MARAMBAIA" "ONE THIRD OF "AT THE EDGE OF THE EARTH" WAS SHOT." "MOST OF ITS FOOTAGES WERE LOST" "IN A FIRE AT BRASIL VITTA FILMES." "FOOTAGE FROM" "FRAGMENT "AT THE EDGE OF THE EARTH"." "Our stay in Marambaia... left me only with regrets... and a can with 3OO meters of film... which Carmen gave to me, saying:" ""It bothers me to hear that my only legacy..."" ""will be my role in 'Limite'."" ""My ultimate role was the lead in 'At the Edge of the Earth'."" ""She's the kind of woman that 's always interested me."" "Then she added: "Here, it 's all yours."" ""It might bright me better luck to rid myself of all this."" "I still remember when I first came to Mangaratiba." "Its landscapes fascinated me." "I've always been passionate about nature... and right away I felt one with that place." "It was my blood speaking." "The whole area had belonged to my family... but was lost in a card game." "I built myself a comfortable cabin in Ibicuí." "This led journalist Pedro Lima... to buy a cabin next to mine." "He was a great admirer... of Nietzsche." "From our chats in Ibicuí..." "TESTS FOR "LOW TIDE" came up the idea... to shoot it in collaboration." "Pedro was set on making a quality film... starred by beautiful and famous women... thus enabling us to produce other films." "We shot a few scenes... but the project didn't come to fruition." "In 1933, on a boat trip around Ilha Grande..." "I spotted an empty house in ruins." "Thinking I'd never return, I decided to tour the island." "When I saw that house..." "MORCEGO'S RANCH, 19OO I felt as if I'd touched a live wire." "As if something told me:" ""Drop your anchor here."" "We moored so I could take a closer look." "I told my father about it..." "and shortly before his death, he gave me the money to buy it." "We went to Ilha Grande." "At the time, a long trip on a rowboat." "ARCHITECT When I saw the house," "I got very excited." "It stood there all by itself, and looked like a temple." "Later I regretted... having encouraged Mário to purchase it... cause he disappeared after that." "For a long time afterwards, we didn't see or hear from Mário." "MORCEGO'S RANCH, 2OOO" "He used to get up very early, at 6 am... and say:" ""It 's a lovely day." "It 'll be a lovely sunny day."" "That 's how he lived." "His joy was nature..." "HOUSEMAN the trees, the plants." "Like the birds in the trees." "Cause at daybreak birds jump up and sing." "During the day, we helped him plant agaves... placed real upright... then covered with earth." "He was very methodical." "Just like when you make a film, it takes up a lot of time." "That 's how he did things." "Studying carefully their outcome." "At night, he'd check them." "HOUSEKEEPER They'd bend in a week." "He uprooted them and replant them like... the week before and it took over 3 or 4 days." "Studying the deeds and the history of the house..." "I learned it had been built in the 17th Century... and had housed the pirate Juan Lorenzo." "I then put all my time into that place... gathering its historical pieces." "My dream was to open Morcego to the public, a tribute to Brazil." "Access to Morcego was difficult." "It took several employees... to transport the furniture, and tend its garden." "At times, he'd say: "I might not be here in the year 2OOO."" ""Whoever sees Morcego's gardens..."" ""and all this, these columns..."" ""will remember me," he'd tell us." ""You'll remember me and say:" "'AII this was Mr. Mário's work. "'" "I'd tell him: "Mr. Mário, if it takes you a month to plant an agave..."" ""imagine creating a museum!"" "He'd hide his identity, and never said he was Mário Peixoto." "When reporters came to see him, and asked for Mário Peixoto... he'd say he didn't know him." "The man himself!" "He ate like a bird, but with many courses." "He ate by himself from a feast for 2O." "He'd write out the menu... and say: "9 o'clock, my dear."" "At 9 am, I'd say:" ""Dinner's served."" ""I'm coming, dear." "Fifteen more minutes."" " We waited." " Yeah." "After dinner, he'd pick up his notebook." "He was writing a movie." " "The Soul According to Salustre"." " "The Soul According to Salustre"." "He'd stay up till 1 am, writing." "He worked every night." "His desk had pens all over it." " Always writing." " He'd sit out on the terrace, gazing at the moon and the stars." "He refused to talk about old age." "He thought we never grow old." "To him, old age didn't exist." "That was Mário Peixoto." "He was a dreamer." "I had many ideas for new films... but whenever I considered producing them..." "I thought I'd never be able to do it." "I made "Limite" the way I wanted." "I doubted I could recreate that atmosphere." "Whenever asked, I say that Morcego... was more important to me than "Limite"." "I never got to realize my dream." "Keeping Morcego became... increasingly difficult." "Maintenance costs became a heavy burden." "So, in 1976, I had to sell it." "I think of it with a bit of sorrow, but also with resignation." "You raise a baby panther, it grows... and then you have to sell it, or give it to a zoo." "IN THE YEARS HE SPENT AT MORCEGO" "MÁRIO PEIXOTO WROTE SEVERAL SCREENPLAYS" "AND THE SIX VOLUMES OF HIS NOVEL" ""THE FUTILITY OF ONE'S LIFE"." "MOST OF THIS MATERIAL REMAINS UNPUBLISHED." "I first met Mário in '74, in Angra... and we soon became good friends." "He always talked about "Limite"... and his desire to film again." "RUY SOLBERG, FILMMAKER So much so that he convinced me, and I came to Rio." "That was during Kalil's tenure at Embrafilme." "He was equally excited, and said to me:" ""Here's what we'll do, Ruy:" "I'll advance enough cash..."" ""for him to shoot, say..."" ""6 or 7 sequences." "If that goes well, we'll move on."" "The film would be "The Soul According to Salustre"... one of Mário's long-standing projects." "We then set its financing in motion, but whenever... we were about to strike a deal he'd create a new obstacle." "Once, he said: "Look..."" ""You'd better start casting the supporting roles..."" ""cause the lead has got to be singer Roberto Carlos."" ""The lead actress will be Brigitte Bardot."" "I said: "That 's impossible."" "He'd say: "That 's not negotiable"." "Mário never liked being on camera... but I had the privilege of filming him twice." "Firstly, for the documentary, "The Master of Morcego."" "What impressed me the most... was the way he narrated on camera a scene from "Salustre"." "It was clear he envisioned the whole movie in his head." ""THE MASTER OF MORCEGO" A stagehand enters," "BY RUY SOLBERG presenting Cézar with his cape." "The glare from the shiny fabric of its lining... blinds Cézar momentarily... so he doesn't recognize the boy." "Only a voice that is his, from the island." "It speaks to him in off:" ""I am your own youth."" ""What have you done with your life?" "Forget old age."" "Cézar means to put one arm into the cape sleeve... but feels ill, and collapses to the floor." "Everyone gathers around to see what happened." "The camera, which is a character in itself... searches for a breach in the crowd... and zooms in on Cézar's face... which now looks like a death mask." "Then it penetrates into one of his eyeballs... which now appears empty." "It goes in." "The sound of water is heard... as if reverberating inside a grotto... filled with kelp." "The camera pulls back again... leaves it, going higher and higher." "The paneling on the walls... suddenly turn into solid rock." "And above them... only a starry night, nothingness." "The camera zooms on the beach down below... where a wave is about to break." "It freezes, trembling, as if waiting." "An arm comes in on the left-hand corner of the frame." "It 's Cézar's arm." "He sticks out his index finger, and, on cue... the wave collapses, and finally breaks." "The screen is filled with tiny drops of water like tiny sparkling atoms." "The 2nd time I filmed Mário was even more surprising." "I was shooting a documentary on soccer." "One day, leaving for a shoot at Olaria's stadium, he asked:" ""Can I tag along?" I said: "Sure."" "When we got to Olaria's locker-room, he said:" ""I'd like to be in it." "Can I make a cameo?"" "There really were no parts for him." "So we gave him a soccer ball we found there." "He put a cigarette in one corner of his mouth... and started blowing it up as if he were part of Olaria's staff." "Anyway, he was totally unpredictable like that." "I loved "Limite" when I first saw it." "I couldn't forget it." "WALTER SALLES" " FILMMAKER I knew Mário Peixoto lived in Angra... though I didn't know exactly where." "Through Ruy Solberg, I arranged a meeting with Mário." "He lived above some kind of street mall." "On the second floor, there was an... extremely long uterine corridor... flanked by some 5O or 6O doors." "That 's how I remember it." "His was the next-to-last door." "I knocked, but he didn't answer right away." "I knocked again, and heard:" ""Come on in."" "Once inside, he looked at me, and said:" ""Are you my 4-o'clock appointment?"" "I said: "Yes, I am." And he said:" ""Then turn around, face the wall, and tell me what you see."" ""I see a clock, Mário." "Don't worry, it 's working."" "He said: "That 's not what I meant."" ""Look at its hands." "What do they say?"" "I answered: "They say it 's 4:" "O3 and 2O-odd seconds."" "He then said: "No, that 's not it." "Here's what it is"." ""Listen carefully to what I'll say, son."" ""Every time that hand says one more, one more..."" ""one more, what it is actually saying is..."" ""one less, one less, one less."" "That line sums up Mário's drama with respect to time... his inability to hold time still." "In all the years I knew Mário..." "I was never sure that he wanted or needed to make another film." "Or even if that was a big drama in his life." "But I am sure it was a huge loss... for everyone who loves cinema." "Years later, one day..." "I returned to Praia do Sino by myself... for a farewell in my own way." "I felt weighed down with memories." "Everything spoke to me, and those whispers... left me prostrated." "Was I a failure?" "I left, and walked over to the beach point." "I saw it all in front of my eyes." "The litter we used in "Limite", the rims of the reflectors." "I walked on, and sat down on the sand." "I searched the horizon for Mangaratiba... but couldn't make out anything." "Not a shadow, not a boat, as I'd hoped." "And yet, anything could happen." "It would've been a sortilege of the absurd, but it was possible." "All of them, they'd all land on the beach... to meet me, and the great adventure would begin." "This time around, though, the film would reach its end." "Yet the word "end"... meditated upon, uttered in my mind... made it all a vain effort." "NOWHERE SOMETIME EXISTS." "MÁRIO PEIXOTO" "THIS FILM IS DEDICATED TO OLGA BRENO" "TRANSLATED BY:" "MONIKA PECEGUEIRO DO AMARAL"