I live in New York, and Clara lives in Recife. The character is Brazilian, and as I read the script, I felt like Kleber [Mendonca] had been spying on me in order to create this role [in Aquarius]. Clara and I have different backgrounds. I come from an intuitive world, and she's an academic, but when we got together, we really became one. There are many times when I'm watching the film where Clara will say something, and I will find myself agreeing with her. It was the first time that I had this weird sensation that the character I played is so me, but yet it's so her.

I keep boxes filled with recuerdos - little memories that are in the form of pictures and events that I've written down. It's funny that I chose to write them in Spanish rather than English or Portuguese.

We did receive some questions about the film's [Aquarius] sexuality in Cannes, but they came from the press rather than audiences.

The movie [Aquarius] is about love, ultimately, and it was made with love. There were a lot of parents in the crew, and they were the best crew I had ever worked with. Everybody knew the construction of each scene, and were completely invested in every shooting day.

Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.

When Sônia [Braga] talked about the script in detail, it was as if she had seen the film [Aquarius] last night, even though it hadn't existed yet. It was a completely bulls - t-less reaction, so I knew it had to be her, and she has been great ever since.

The way I see it, I belong to the film as any other department.