“I work directly on literature, I make an incursion of the lens into the book”
Andrés and Nacho: Despite adapting the structure of the original story, you decided to keep the first line. How important was this in the film? How did you construct the rest of the script?
Luiz Fernando Carvalho: There isn’t exactly a script. I don’t think this type of literature, which is poetic prose, requires the mediation of a script. I work directly on literature, making an incursion of the lens into the book. So there isn’t a script; there are coordinates and a very strong prior study, supported by specialists in Clarice Lispector’s work, that help me perceive the novel’s directions. These coordinates help me generate a great creative response from my reading of the novel.