Rocha que Voa Page #3

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with the other classes...

of men who...

work in the society,

he identifies and penetrates...

more deeply into these problems...

and produce an art that,

for example...

does not talk about the people,

but be the voice of people.

That is, it's no longer

the artist's work...

where art is revolutionary...

where social science

is revolutionary...

where philosophy is revolutionary.

There's a ideological and

professional community...

that justifies my presence

in Cuba...

because I've come to Cuba

to work for a while...

with my friends here.

I feel at home here...

because I feel there's

no difference...

either ideologically

nor technically...

nor professionally

or culturally in my work...

or in the dialogue

with Cuban filmmakers.

The performing arts...

like, for instance,

cinema, theater...

and music are kinds of art

which can only develop...

with the collective creation.

That is, it's impossible...

to make a theater about

the people, for example...

or for the people,

without the people...

having an effective

participation in it.

Because the artist always

approach reality...

without the scientific knowledge.

And this lack of scientific

knowledge prevent him from...

it's true, it prevents him from having

a rigorous knowledge of society...

and because he lacks

this knowledge...

he can have a further intuition...

and conscience about

certain problems.

Art today is backwards.

Art must transform itself...

into a simple synthetic and

dialectic expressin...

of all this knowledge.

C0MMITTEE F0R THE DEFENSE

0F THE REV0LUTl0N

Art is individual.

If art is enlightened,

it enlightens some people...

or all the people.

But I can't think

of cinema or art...

which I think is a sacred,

divine activity...

I think you cannot think about

money with art.

I would love if people

saw my foreign work...

which is a work of

"cultural de-colonization"...

HAVANA, 1971

a Brazilian moviemaker...

filming abroad the great apocalypse

of Cinema Novo...

the fatal and final beheading

of colonizing cinema...

so, just for this mystic activity.

Since my cinema is clearly

a revolutionary cinema...

which was tested

in many screens...

and by many audiences

around the worid...

I am an independent filmmaker.

I am neither led nor patrolled...

neither am I a patroller, I'm minding

my own business, doing my job.

I have accepted that

the Brazilian audience...

don't know my work,

let alone the critics.

I mean, just a few people...

know my films here in Brazil...

which are far

more famous abroad...

unfortunately for me

and for Brazilians...

but we are far more known...

seriously known...

He walked around talking

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