The main photography of “Levels”, directed by Marcio Schoenardie, starts at 12pm of May 26th of 2008, at Cine Santander Cultural. The crew sets the beginning of the shooting, expected to take 12 hours in many locations spread through Porto Alegre (RS). “20 minutes for light preparation”, says the director of photography, Pablo Escajedo. The actress Carol Sudati shows the costume design under the sharp eye of the director. She leaves to get dressed while the moviemaker and the photographer discuss the framing.
A movie session under the view of the solitary expectator is one of the many pieces that integrate the visual essay that will intermingle with the testimonies of the guests Beto Brant and José Padilha. Next to Styrofoam boxes, tripods and cables, Carol has to maintain her “interest” to the screen. “A look of someone who is watching a film”, says the director. “Look a little bit more to the left. Smile, Carol”, he directs. One hour and the actress maintains her position, sitting on a sandbag (hidden in the seat) to put her at the same level as the camera.
First images taken, Carol is lift with a wooden prop, facing the projector. The crew accommodates itself inside the small projection room, between cans, spools and the tools that make cinema gets to the people. As the 35mm tape slides between the intricate pulleys of the equipment, colored lights make drawings on the actresses’ face. Then, many still shots are taken to complement the action. Done with the shooting in the theater, the material is disassembled. The production van goes to the next location.
At 2pm the works in the Public Ministry of Porto Alegre begin. A footbridge on the 14th floor is used as location. Next to the flow of many professionals of the place, the cinematographic crew prepares their work. Carol poses for photographs lying on the carpet, surrounded by the landscape mirrored by the thick glass of the hallway. A second light structure is assembled inside one of the elevators. A camera is installed in the cubicle. Two hours of waiting are predicted for the beginning of the interview.
“The idea is to create a dialogue between Beto Brant and José Padilha, without showing”, explains Marcio Schoenardie, while plans the shooting from the elevator to the footbridge with the photographer. At 4:15pm the moviemakers arrive, with the executive producer Davi de Oliveira Pinheiro, among other member of the crew. Vivacious and sympathetic, they talk to the director, who conducts the dialogue with tranquility. “I felt a little intimidated, since both personalities are moviemakers and, in a way or another, would be observing me. But they are nice people, really cool guys”, says the director.
The meeting starts in the elevator, with the photographer capturing the images in HDV (high-definition video), while the second camera, (a mini-DV, simpler) imitates a black-and-white security system camera. “I wanted a different kind of testimony. I like the texture and the play with the security cameras. The result is always different from what we expect”, says Schoenardie. The absolute success of “Elite Squad”, directed by Padilha, and the alternative cinema of Brant are some of the guidelines of the interview.
The cinematographic universe and the similarities between the moviemakers are summarized in the Public Ministry chat. “Their ideas walk together, in a way”, considers the director. The dialogue continues to the footbridge. Sunshine invades the room to accentuate the expressions of the guests. Between one opinion and the other, Carol Sudati walks as one of the passer-bys of the building, next to Brant and Padilha. On the way out, the second actor of the visual essay, Daniel Bacchieri, improvises a dialogue with both moviemakers.
At 6pm the night shooting of “Levels” starts. Bacchieri walks to his apartment, followed by the camera. Soon the actor’s home turns into a prepared set for Schoenardie to yell “action”. Bacchieri smokes as watches the classic “Once Upon a Time in West”, by Sergio Leone on DVD. The theater of the beginning of the diary is replaced by the living room. Around 8pm the crew moves to Farrapos Avenue, a known prostitution area in Porto Alegre. One of the gas stations of the area is used as base for external shootings.
Carol is back to scene. A green light, taken from the scenario, covers the actor Bacchieri. He observes the actress, now characterized as a prostitute – crossing one of the transversal streets. Schoenardie signals her to go and get back. Four takes and a pause to set the focus later, the actors stick to their characters. Assistants hold a passer-by in order to keep things ok. Sequence completed, Carol is protagonist of another shooting session. After 9:30pm the crew moves to a well-known night club of Porto Alegre.
Entering the night club, only one of the crew members is stopped by the security for age-check: Leandro Lefa, 26 years old. All set with the sound technician, the work proceeds. Funk and techno are the soundtrack of the night. Red lights and drinks labels surround the room. Among clients and prostitutes, the technicians prepare the set. Once more, the character of Bacchieri “follows” Carol, this time among the occupied tables of a bar. Next to midnight the diary is finished.