We 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.

A little bit more than 50% of what you see on screen is handcrafted and the other 50% was about emulating these textures on the computer. However, for us, when we were making it, we had to believe it was all handcrafted.

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.

I 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.

Films are born from screenplays and they are guided by words. They are born very limited and there is no space for real creation: graphic creation, pictorial creation, or audiovisual creation. If we really want to use the art of animation with all its strength, we have to rethink the processes by which it's made because the medium is the message.

That was a very natural process because as I was creating the animatic I added music clips as reference of the kind of music I wanted in the film. These were from musicians like Naná Vasconcelos and Barbatuques, the body percussion group.

I have the feeling that I didn't make it by myself, but that I was conducted by feelings that were completely different from those in my previous work. When I start making a film I don't know what I'm doing.