The entire time I was following the feelings experienced by children, so the feeling of not understanding what adults say was very important to put the audience in this frequency to understand the world through his eyes.
Alex AbreuWe thought that using rap would draw a parallel with the protest music from the 60s and 70s that we found through the research for animadoc. When we thought about rap, Emicida immediately came to mind and we decided to call him to create this song bring the audience back to earth and put their feet on the ground. Emicida's song is the only one that has lyrics in actual understandable Portuguese.
Alex AbreuIs as if the music is another character or as if it was a part of this great opera. I also through about this project as a structure or as a sculpture made out of colors, rhythm, characters, and brush strokes, but with every single one of these always supporting one another.
Alex AbreuMaking a film from the point of view of a young boy's eyes opened the door to another universe with lots of freedom and to explore a new dimension. This was achieved as I started doing things that were close to what exists in a child's universe.
Alex AbreuI built the film [Boy and the World] this way. I gathered all the tools I usually use such as brushes, color pencils, crayons, watercolors, and everything else I found in my studio, and I put them on top of a table. I had this feeling of freedom and possibility like if I was this boy. I was using the boy's freedom to create this film.
Alex AbreuThe world's geography is not realistic. Geography is not real. Borders are only closed to people but they are open to products. There is another type of geography outside of this matrix. Because of this we noticed we were talking about much more than just Latin America. That was very important to put the film on another level. Based on this idea, we knew that we were not in this world any longer.
Alex Abreu