It is a young comic book artist who has achieved all the objectives that he has set itself in his professional life. A dream that was made possible by the persistence and tenacity with which he always "run" behind them.

When did you began to "draw" your call?
Filipe Andrade: Is the cliché that all artists have, when ever I had some spare time I was always drawing. My mom took paper and pen when I went to an appointment with me as a way to entertain me. I also was always looking for a paper and a pen. After ten years old my parents had noticed that I had ability and a tendency for the taste and shape. Then I enrolled in an academy of design. Later we found a studio of a fine arts teacher who prepared students for college entrance. I enter this "academy" and I graduated there as an artist. The comic, appears also there, because she belonged to a group of artists who organized a workshop to taught sequencial arte, at the time with Anthony Valjean. She informed me that there would be the workshop deidcated to comics, I decided to join the course, I was 11 or 12 years at the time, I was "crazy" with what I saw at the time. It was first time I ever saw the american comics, with all that color and it had a big influence. I decided in that moment what i've wanted to do in my life. And the rest was a series of happy coincidences
When did you made your debut as an comic artist?
My first major publication was the BRK by Asa. Started by BB newspaper and published in 2009, started in 2006.
Why the gap?
For a number of factors, we had signed with the publisher stone in the pond, and Felipe Pina and I ended up for several reasons that are not worth talking about, the project was eventually hook up in 2009 with the official seal of Asa.

Helena Freitas, accepted the challenge of composing a character lost in the meshes of traffic. A substantial work on a controversial topic that we did not leave indifferent. A play about human beings not so different, not so far from us. An actress who fights for the difference in their art.

Who is your character?
Helena Freitas: My character is Diana who is caught in a traffic network. She was sold by his cousin, the play portrays the traffic of human beings. She came to Portugal and was sold by the cousin to a friend who then holds her in a room and gabs her passport, and only when she turns twenty thousand euros in services she will supposedly retrieve the identification document back.

What are the challenges for you with this character?

The purpose of this work and the author of this text was that it was palyed in a conventional space, but the director Ricardo Correia, works with unconventional spaces decided to present the piece in a warehouse. It is a challenge not only for staging but also for the character. In these environments, it is possible to be very cold, wet, being stuck in a precarious situation, which is the case with them, they are trapped in rooms.
We, in Coimbra after the play, we did a debate with CBS members(crossing borders service), to alert the public of this issue in Portugal. And this piece was for it. It is a subject that we not hear often, but it exists. Portugal is one of the weighing and accommodation of traffic of women.

How did this opportunity was presented to you?

Ricardo and I were working on another play, in Coimbra, and the opportunity arose thru the invitation of "health in Portugal" to adress this issue of human trafficking. Ricardo decided to approach the text of Lucy Kirkwood, gave me to read, I immediately fell in love for the role, it is a well written, the text is a new kind of drama that was how I decided to take the entrepise. And we began research and rehearsals on this topic, in January.

You work primarily as an actress?

Yes, and I also teach drama to primary school.

He’s one of  the tv presenters of  a late night show, 5 to midnight. Pedro Fernandes is not  only  a tv show host, but also a comedian and a screenwriter.

You started in the comedy,  is this an area you wish to persue? Or are you always looking out for a bit of everything?

My career has turned to comedy somehow involuntary, and that is where I feel most comfortable. I started in college theater and the choice of pieces was a group process. I always tried the texts chosen had a lot of humor to the mix. When the opportunity came to work in television I was fortunate to be able to participate in a comedy show that became a cult program "The Revolt of the cream custard”. I think I'll do other things in life, but if they have humor, better.

I know you write your own scripts, what you look to express thru them? It is a social critique?
Since 5 to midnight is daily and a program that will drink much of its humor to the present, it is virtually impossible not to make a social criticism on everything you write. Whem ever I can I sting the audience and hope they feel it.

How was the experience with the musical piece Peter and the Wolf, what was more rewarding for you?
The invitation of Maestro Rui Massena honored me. It was very gratifying to be as well received by all members of the Classical Orchestra of Madeira and felt that they liked and understood the version of the story I wrote. The audience that filled the Technopole left satisfied and this is the most important.

And working with a classical orchestra, is it a different dynamic?
Unfortunately we had very little time to work. We did one test on the morning before the show. It could had been further tuned. Me, of course. The orchestra was flawless. An orchestra has its own dinamic and a very special sound that gives him a huge musical power. If  I could I would have an orchestra in all my programs.

What is more difficult in the life of a tv show host? And the easiest?
The hardest part is being able to reinvent ourselves every day. In my case, as I am also a scriptwriter, the work of writing an interesting program each week, always been able of surprise the audience, is definitely the hardest. The easiest are the photographs and autographs at the end.

What is personality that is a reference for your work in television?
I have two great references. In Portugal, Herman José is the master of humor to mine and other generations. Outside and within the talk shows, Conan O'Brien is undoubtedly the best and most completed tv presenter.

Presentig a live program, in the case of  Operation Triumph represents a different type of challenge?
The 5 to midnight is also live. The OT was a wonderful challenge. I love to sing and is a tv format which I was already a fan. Doing the dailies was so much fun and I made good friends. Singing live in one of the galas was terrifying. Much worse than any present program.

What do you think of the television in Portugal? What do you think should be done?
I think the Portuguese TV has great quality. At least mine is full HD. ;)

And now, the embarrassing questions. Which one of you from 5 to midnight is the most annoying?
There are no nags. They are all lots of fun!

The latest?
We have two acute cases:  Alvin and Borges. I think there is even a competition between them to see who will arrive later to the meetings.

The least funny?
The producer. Doesn’t think it’s funny the megalomaniacal ideas we have from time to time.

The most crazy?
We all have our moments of madness, a healthy madness always.


http://www.rtp.pt/blogs/programas/5meianoite/

www.facebook.com/oartistaconhecidoporpacheco

This is a house in the center of Coimbra, which aims to change the way we look at the theater. A passion that comes from director Ricardo Correia and many artists who refuseto lower the arms.

Tell me why this choice to stage this play?

Ricardo Correia: We received an invitation from a health care association, which moves from a concept called human merchandise which is a project to raise awareness against human trafficking. And at the time asked us to work with this theme, by the time we were forming the team, we were looking for material, read many books, films, fiction, documentaries, and this was one of among other pieces we commissioned to serve as material and liked both Helena and I, because I thought it she was the right person to do it. She also liked a lot and decided that it was part that made sense at the Corner House.

The piece was written for a conventional space, however, you have chosen another type of stage. Why?

RC: the piece was written by Lucy Kirkwood, is a British playwright, wrote this piece in 2009 and won one of the most important awards of the British drama, the "Whiting Award 2010."
She wrote and it was staged in a warehouse. In Coimbra, the Corner House, we decided to do it in rooms where we had very little space around 16 people per recites, is very little, but it was our option. And in our work we have followed a line that is to work unconventional spaces. We got through a text or a textual input perform, other types of production, the scenic object that you take for another space. When we asked for the "I love theater"of Camacha the decision was to do it in a space that was not the theater, our idea was always that, and decided to come to the warehouse.

But, does the theater not require the public to be more feasible, however, you perform plays in places where they fit very few viewers?

RC: Yes, but for us the theater is not just entertainment. In this case we seek a strand of awareness, break some rules. The theater itself, continues to prevail and it depends on who does it, and we are fighting this side only entertainment, many people in a room. Our work goes almost to the root of theater that is a ritual, a space where there is a strict division into those who do, the doers and the beholder. It is a more ene, not being conventional. Our fight is this. There is a counter intuitive to us.

And how will the public react? What is feedback?

RC: The first show we did there were actors. The public took an mp3 was in Coimbra in an urban space and hast various facilities provided by the city, they took a map and listened to instructions and meet the city like someone who's going to sites looking for a room. The public was given a role and no longer has a passive side and spent an agent of action and went looking for things.
In the second scenario, we made the piece in a botanical garden which was a huge space in the forest that was a prohibited area and at night. And we work to the memory of those who passed through there, who worked in that area and it was almost a guided tour, we play with this concept, the tourist side who we're not , but we played with it.
This scenario of Lucy Kirkwood, in Coimbra, we felt that people did not want to invade the space of the person who was doing, how she felt trapped because the story of Diana is someone who is in jail and will become increasingly arrested. And it is a person who wants to raise, and people were afraid to respond and notices that are not used to this type of scenario.
We do not want to do anything new, like the Clash del Baus that throws people farinha is more the intimacy of eye contact and people are not used.

They are four boys, all related to the arts, which backed their stand-up comedy with a taste of Madeira. The phenomenon appeared on youtube. They are a new generation of young comedians without fear of the future.

How did  4Litro start?

Luis Sousa: Started with me, Rubén, and Bernardo. We exist as a team for four years, that was when we started recording small sketches in a more sophisticated camera and made three videos at once. Then we puted on youtube, just to show to friends. They began to like it and then pulled out.
Bernardo Freitas: friends shared ...

And the name?

LS: As we were four and the rural areas usually you  invited friends to drink  eight ounces, and thus came the name.

Do you  write an script?

LS: Just write the basic idea and some loose ideas.
BS: We have a theme, choose the characters, he does this, others do that and from there began to have ideas and in the end we put everything together.
LS: We do the sketches out of  improvisation, and as we know it works well.
BF: If I say a line, he already knows what the other will say.

Why did you choose when creating "vilhões? Because it more funny?

LS: What we want is to portray the everyday of Madeira’s rurallife, becouse we come from the countryside it becomes easier.
BF: It is also better to do social criticism through these characters ... in the background we can criticize whoever we want.

José Vieira Mendes has a remarkable career in journalism, as a film critic, in various media. A career that has branched over the years in different areas, whether on television or in film festivals, where it now he also assumes the role of documentary filmmaker, "oh father ehat is the crisis", finalist of the film festival Cel.u.cine in Rio de Janeiro.

The Environmental Film Festival of Serra da Estrela wants to have an extension in Madeira?

José Vieira Mendes: The objective is to have an extension in Machico Forum in March 2013. The dates are not yet set. The idea in question is linked to Natércia Xavier, we entered into contact, because the echo cine have interest in doing stretches across the country and to some extent it had a space and the advantage of having a schedule for the schools.

Are you programming the nineteenth edition of cine echo?

JVM: No, will do it with the programming of the eighteenth edition. The XIX is in October of next year, taking into account the latest edition of the nominated films.

Let's talk a little path echo cine, what is the balance of activity of this festival?

JVM: I can not exactly make a balance, because only caught echo cine programming this year, but I can say it was very positive. It was a challenge I was invited by the Chamber of Seia and its Executive Director Mario Branquinho and what we did was build a program with a set of movies that somehow addressed the environmental issues and were accessible to the public, especially to children and adolescents, schools, also for the elderly, because there are a lot of social centers linked to the city council and the public in general.

Still makes sense to have a festival with an environmental issue?

JVM: It makes sense, is one of the pressing problems of humanity at this time is the self-preservation of the environment and there are a number of films and documentaries that are concerned with this theme.

The second edition promises more films, around 30 films, five of which are of Portuguese filmmakers. The program continues to have the environmental and the laurel forest theme, but in a setting in the style of the twenties. Welcome.

The theme of the edition of Madera Film festival 2013 takes us to the national iconography, Amalia Rodrigues. It is deliberately different.

Aitken Pearson: Yes, we tried an original concept. When we looked at some of the posters festivals are somewhat predictable and become a bit boring after a short time, so we tried a more classical approach of this era, then there is a component of the forest through the flowers in hair and the scarf brings us to the cinema.
Elsa Gouveia: The theme is always the laurel, but this year we tackled the theme of the twenties. We had the "Portuguese spectrum" last year that will endure. The poster has Amalia Rodrigues because it is intended to lead to a national image in the world, if there is a recognizable face she is it.

What will be different in this second edition of MFF'13 in general?

AP: We will present the films in the theater Baltazar Dias, because it's central, it's bigger, it's more comfortable and it is a beautiful building, it was a shame not to take advantage of that.
EG: We change a few things, five days of films, two days of nature that we did not have last year and Madera wine, through the Wine Institute, is the official drink of the event.

You will keep the same schedule?

AP: Yes, apart from the films in competition, we will have seminars, workshops, parties and a fashion show, which will take place in Reid's hotel.

One of the guests pointed out is actress Maria de Medeiros, she'll also talk about movies?

AP: We do not know, we have to discuss this with her agent. We hope so. She comes to give a concert.

Without unveiling too much of the programming what can you already say?

AP: I think the movies are better. The nature, the environment continues to be the dominant theme. We will show 30 films and many short films. We have 5 Portuguese filmmakers in competition and a team of Madera will present a short film.

On the subject of education, the competition for schools, I know that last year there was a wide grip, what changes this year?

EG: Last year we were too ambitious. We had eight proposals for schools in several areas. This year we have only three, best video, best cinematography and best tale or story, which can be either in Portuguese or in English. It is necessary to take the project to schools and so many areas would only be possible if we had more people.

http://madeirafilmfest.wordpress.com/

É mais um filme de um jovem cineasta, Rui Moreira, que gostaria de destacar.

É uma curta-metragem tem um certo caracter original na forma como constrói a acção, ou seja, o argumento, assistimos ao percurso matinal de um jovem, em passo e em corrida, que ao chegar ao seu destino final apercebe-se conscientemente de que tudo não passa de um sonho. O que mais me agradou neste pequeno filme, foi a banda sonora, foi sem dúvida uma escolha acertada, a "toccata e fugue em D menor" de Bach e no final "Agnuz dei" de Berlioz, foram sem dúvida mais-valias nesta narrativa muda, mas que não deixa margem para dúvidas em termos de mensagem. Para alguns até pode parecer demasiado longa, mas eu aprendi, que o tempo é algo que também conta em termos cinematográficos numa era em que as imagens discorrem com velocidade tão alucinantes por vezes que perturbam mais os espectadores em vez de os cativar, mas este não é um desses casos, imaginem-se no lugar deste jovem, não demoravam o mais tempo possível nesse vosso mundo de sonho do que na realidade? Gostei muito do lado quase poético. É um bom exemplo de sensibilidade e de emoção, e isso é cinema. Bom cinema.

http://www.youtube.com/watch?v=733X-jxsOTg&feature=player_embedded

It is a semi-documentary film of Filipa Reis and John Miller Guerra.

Its movie colored with hope. It is a generation that sees its future with more positive expectations, as the result of a sense of belonging that comes from being a membership of the orchestra generation. The method of teaching music, from Venezuela, and the motivation of teachers, instills in these young people with social needs self-love and equality among equals, which makes them aimed to fly even higher, to be better. This is the message of this tender film portraying the day-to-day, the daily lives of several young musicians, the obstacles they face, the rehearsals for the show, mainly portraits the dreams that they fuel thanks to this very unique orchestra. The look of Filipa Reis and John Miller Guerra is not intrusive, i.e., does not interfere much in the dynamics of these kids, which makes it more real and genuine, they are the main characters and everyone cheered for them. As I s said it is a semi-documentary full of love, dedication and above all hope for a better world. Good cinema.