The making of the film was from the beginning a “cinematographic battle”. I knew that in order to do the film I wanted it was necessary a professional production. I didn’t want to make a documentary film because I didn’t want to get into the indian huts with my camera, trying to steal images from their real lifes. I wanted indian actors, not just indians to be filmed. “The Mission”, “Fitzcarraldo” and many others films with indians, have the same cast idea: main white famous actors and indians on the background. I changed the rules:  my actors learned what is a cinematographic set and what is cinema language. It was not necessary to teach them how to act, they have an oral tradition and managed very well the acting techniques. In fact they are masters in rethoric when they deal with brasilian authorities and with us europeans. They keep private codes, after 5 centuries of colony they learned  how to protect their secrets. I wanted to deal with them in an horizontal dialog, on an artificial set. Nobody in the film is using his real name, no hut shot in the film is a real one. Along the six month of preparation of the film I realized that they were using too much dialogues in the fictional improvisations. I understood they didn’t know at all what is silence in cinema, what is the power of an image on the screen. So I organized a screening of some sequences with no dialogues, with the original sound track and music. A piece with Clint Eastwood from “Once upon the West” by Sergio Leone and the historical scene from “Birds” by  Alfred Hitchcock. They immediately understood and applied this technique along the film. Meeting them again it’s a new challange for me, I need to know what cinema  has left there after six years. Cinema as a strange machine that arrives, uses everything and then desappears.