A Portuguese by birth, a Londoner of habits, Pedro Lino studied art and design before dedicating himself to cinema. His first feature film, "Lupo", was part of the official Locarno selection. It competes in this edition for the Gold Lynx in the Documentary category.
As a young director, do you consider that is given the due value to the new voices of cinema?
As in all areas, it is always tricky to start, but I believe that anyone who has something honest and original to show has its opportunity sooner or later.
How did cinema came to your life?
Like many others, cinema has always been present in my life as a spectator. From a very young age I have always been interested in films, although I never planned to be a director. But life always seems to have a way of getting us to the right places and I ended up starting to realize.
What are the main challenges you have faced?
The main challenge is myself, that is, my decision to work in film and what direction to take in terms of the projects that I must follow. Since I have several different interests, I have been trying to focus on what I am really interested in, and how best to express my point of view.
You already did illustration, documentary and fiction, what are the biggest differences between the various styles?
Obviously there are many differences in technical and formal terms, but for me they are all vehicles for the most important, which is tell a good story.
Making a documentary something more than a simple presentation of facts is a challenge, how did you come up with this idea and how was the process of making it real?
I found the story of Rino Lupo by mere chance, but from the beginning I was 'hooked' to it. Between the idea of making a documentary and making the project real was a very long gestation period (10 years). At the time I worked in animated films and I could not imagine myself making documentaries. But "Lupo" was always in my head. When the film was supported by Ukbar Films, who have always been very interested in the project, was when things began to develop more seriously. Then we got the ICA subsidy for the production and have been working in the film for the last three years, which was completed just a few months ago.
This is your first feature film, what do you consider necessary to go from making shorts to features?
Just the will to do them. I think short films often work as a way to look for our voice and try out more abstract ideas and concepts. When we move to a feature, it forces a larger structuring, a stronger narrative strand.
There is a strange feeling when you finish reading a book or watching a series, do you also feel it when you finish a film? What is your process for moving from one project to another?
Finishing a movie is often also a feeling of great relief too! The process of making a movie is very time consuming and we are not the same person who had the initial idea when years later we are fortunate enough to present the film to the public. Anyway, during the long process, ideas are usually born for other projects and it is important to start making plans for the next.
With your work being shown a little throughout the world, how have you been received in the different places?
In general, my work has always been well received, as I have lived and worked in London for many years, it is funny to see the reaction of different cultures to the same work. Often what some consider a virtue others consider a defect.
What stories do you intend to tell next?
I have interests and work developed in many different areas and I would like to continue working and experimenting in various formats, from series to films. But I noticed that I always like telling stories of a character, the individual against the world. After going after Lupo through several cities of Europe, I want to find out more about a Portuguese explorer who was one of the first to ascend the Amazon in the 16th century.
Inerview by Filipa Fonseca | Translated by Inês Ceia
Arcticle from Leuk Jornal | Edition 3 | 22 - 23 JUN 2018