Ana Moreira already has an extensive curriculum in terms of representation, although been young. It is one of the few actresses who can work continuously in Portuguese cinema. An enviable trajectory that includes some of the most iconic characters of the national cinematography and even some international awards.
With an extensive career in film, you have begun early age, how do you see the evolution of the Portuguese cinema since then until the present day?
Ana Moreira: It's a very rich film, with lots of history. With great filmmakers like João Botelho , Manuel de Oliveira , Teresa Vilaverde and Jorge Caniça that all contribute to this universe which is the Portuguese cinema, although we live in a crisis all that is associated with the culture , the film is fact an art form to be practice . However, there is a whole new blood with new filmmakers like Jose Salavisa, Rodrigo Areias, or Jorge Quintela who are young promises of Portuguese cinema, which I see as a great future ahead.
You have collaborated with male and female filmmakers, notes some difference when working with them and they?
AM: No.
The roles that you enroll throughout your career, what have presented a greater challenge in terms of representation? In the "court of the North" you played more than one character, but in "Trance", on the other hand, you had to learn a language. Which one required you more?
AM: In its own way all the roles are different and challenging, I like working with different directors brings a whole new practice of representation, because all require different things to the characters they created. Some characters are physically and psychologically stressful especially because the tread itself is different. When you are away from your country, from your house, away from your daily life you will delivered a deeper character because you do not have references of your day to day life and live it more intensely. Maybe with Teresa Vilaverde, she always writes strong female characters and so perhaps I had with her striking good times and great level of representation. With Botelho, with "the court of the North", was lucky to embark on this adventure of him believing that in the same movie I was able to make about six women with different temperaments and times. It was a work of actor and it had to be a great confidence between me and the director to believe in the work and be generous.
How can you strip these characters? It is a difficult process?
AM: No, it's not difficult. This thing of taking the character home and be suffering, no, no. That to me does not work well, there are no rules on how or not should work, what happens is that in some way the character turns off, the scenes that we had to make are fulfilled, the next day there will be more, if only the character is asleep, dormant under the skin and when I need I'll search it again, but I try not suffer, the film should be good.
Do you have any film projects right now?
AM: Right now I have the new film from Miguel Gomes already started, called "the thousand and one nights ". Last month finished shooting with John Botelho , " the Mayas" and also this last month come from the Reef a Brazilian a movie project from director Daniel Aragon.
Are very disparate characters together?
AM: They are. The movie of the Mayas is from era and a classic. The film of Daniel Aragon is contemporary, thoroughly modern and current. Miguel Gomes will again be a universe of fiction, documentary and fantasy. It will be another adventure because the shooting will take place over a year.
Out of Portugal?
AM: It's not all about Portugal.
Your character is what kind of woman?
AM: I do not know yet because there is no script. Miguel it is all in the moment, is all for improvisation.
That worries you as an actress the fact that you only sipnose, or even have no script, or otherwise, have a very elaborate text?
AM: I do not care. That's part of the job the knowledge of how fit in the methodology of each director. There are filmmakers who prefer to work with some guides and this is the script, because everything changes along the tread and even the director himself thinks of something and suddenly one day may want to change the same plan, idea, or dialogue. This is what is beautiful in the film, is always turning even in the present. Is not something you arrive at the plateau, you open the script and say: now we're shooting scene eight, number 3 and you stay there. No, you can transform the moment , because the people you work with give you other states, other references , suddenly it is sunny or it rain and then this gives you the will to do things differently , or woke up with another idea in mind and this is what is beautiful.
