Já Visto Jamais Visto (2014) - full transcript


Not possible!

How can we do it?

Pull and then pass it through like
a curtain...do you understand?

Look from here, he goes up here
and gives you the blanket there,

then you wrap the first... go
pulling...keep pulling, isn't it better?

Dan, wrap your arm around mine...

look at the frogs having
a great time outside.

-Dan, go to sleep.



It's so cold!

It's beautiful, isn't it?

It's open, isn't?

No...siga prego...I don't understand it!

Please do not visit
the church during mass.

Each (every) thought flies.

Open chest, the leg, look!
The skin, the arm here too...

I don't know what this is.

Look at the iron mask...

I didn't get that.

Let's go, dad!

It's scarier here than there,
let's go dad! ... look!

Man...it's complicated!

Who will read to me again?

Remove it for me please?

-Dad! Stop!
-Look here...

See, you can't.

It's coming, two little pieces.

Take them.

Vroom, vroom, let's travel, vroom, vroom

You're going to learn a little
about the history of religion,

the history of the Jewish people...

do you understand? The story of Christ.

I also wanted to stay
seated at the computer.

I'm going to get some sausage, ok?

You're very hairy.

I'm thinking of a character,
in the case of a potential producer,

but also mixing in a bit of the

stereotypical producer
you find in genre cinema.

There's one here, look here.

But if I were to continue as
I was feeling at the time,

maybe I would continue there,
do you understand?


The issue is the following, time,

if I were to follow the internal time...

-Yours!Your internal time...
-My internal time,

it will be a slow time, I don't know
if the pace of this internal time

will correspond to the pace of this
shot in the film's general structure.

I don't think you have
to worry about that,

you have to follow your own time.

Who will determine your
time in the action,

you should be the story's investigator,
the search for the vase,

the conversation with the
tractor driver, follow your time.

...a little bit,

Did you see this, Joel?

This is the Bible I was
talking about to you, Joel.

Look here, 1884, and the key...

Daniel, come here with me.

Six! Look, six!Victor!

Who hid the key inside here?

What do you mean? Who hid it?

Who hid it!
Who put the key inside here again?

Wasn't it in your cabin?

It was hanging there, I didn't take it.

Then take it and keep it,
I don't want it here.

You keep it!

This book is really falling apart!

The other thing,

this is the piece...

Give us a hand, Dani,
take the lighter plants now.

This is the piece...

it has to be...

it's the legs thing I told you about,
this is the Christ.

Tonight, on television, I have
come to inform the Brazilian people

of an important measure
that I adopted this morning

after listening to the
National Security Council.

It is the result of the
problem that has arisen

in these past days in relation
to the reform of the Judiciary Branch.

This reform of general interest
for entire nation determines...

There are no more conditions for maintaining
order in our territory and cities,

we must provide an energetic
and precise answer

to this challenger to
our concept of life.

Those who promised peace at the
end of an endless revolution

can only expect a single solution:
despair and violence.

In April 1964, the government...

I find this ending interesting,
grab the page...

that says like this:
listen to my advice...

Listen to my advice, sometimes we
feel fear for no reason at all,

you need to see if there really is
a cause for fear, and only then...

then and only then can we do something
useful for ourselves and the others.

Don't follow the others
until you are sure that they are right.

It's the end.

Is it better like this for
the military character,

being a father,
or is it better that way?

I prefer it like this.

I won't carry this big stone for you.

-We can help you with the small ones.
-Ah, but the big ones are heavier.

This is why we wanted your help,
to carry the big ones.

I can't carry the big ones on my own.

With us!

Farid, Daniel and I, we can carry them.

Make a plan...

Let's go guys, let's take these
things, the dolls as well...

Let's fix things up so we can leave.
Dan, vacation is over...

do you remember this story? Do you?

Ah, I remember the racket, it's about
a rabbit that's afraid of a guava

-Not a guava! It falls, makes a racket
-Then he thinks it's an earthquake...

He calls all the animals over,
makes a meeting

I remember...

I know it by heart!

So, Daniel, tell the story to Robson
the cameraman, tell him the story.

-Tell him, once upon a time...

Once upon a time there was a rabbit that
was resting, and then something fell...

"The director usually meets with his
collaborators in the early morning hours,

because he wants to grant the
shortest time to scriptwriting;

and from the early morning
hours until nighttime,

the scriptwriters don't do more than
talk, mostly about the work at hand,

but often,
due to volubility or tiredness,

digress on the most disparate topics.

They tell racy stories,
reveal their own political ideas,

psychoanalyze this or
that person known by all,

gossip about actors or actresses,
get their own problems off their chests;

meanwhile in the work area,
the air is filled with cigarette smoke,

empty coffee cups pile up on the
tables next to the script's pages,

and the scriptwriters who entered
there in the morning

well groomed and neat,

find themselves in the evening untidy,
with rolled up sleeves,

sweaty and more disheveled than if they
had forced a frigid and reluctant woman.

And, in fact, the mechanical and habitual
manner in which they work on the script

strongly resembles a
type of rape of talent,

caused more by willingness and interest

than by any inspiration or affinity.

Naturally, it could also happen
that the film is of a higher quality,

and that the director and
the collaborators are already connected

through reciprocal esteem
and friendship and that,

the work takes place in
those ideal conditions

that can be found in any human activity,
no matter how difficult;

but these favorable
combinations are as rare

as good films are."

Alberto Moravia...

Contempt (A Ghost at Noon).