Production
On the bonus DVD, it is revealed that the only professional actor with years of filming experience was Matheus Nachtergaele, who played the supporting role of Carrot. Most of the remaining cast were from real-life favelas, and in some cases, even the real-life City of God favela itself. From initially about 2000, about a hundred children and youths were hand-picked and placed into an "actors' workshop" for several months. In contrast to more traditional methods (e.g. studying theatre and rehearsing), it focused on simulating authentic street war scenes, such as a hold-up, a scuffle, a shoot-out etc. A lot came from improvisation, as it was thought better to create an authentic, gritty atmosphere. This way, the inexperienced cast soon learned to move and act naturally.
Prior to City of God, Lund and Meirelles filmed the short film Golden Gate as a sort of test run. Only after then was the casting for City of God finalized.
Appropriately, the film ends eavesdropping on the machinations of the "Runts" as they assemble their death list. The real gang "Caixa Baixa" (Low Gang) is rumored to have composed such a list. After filming, the crew could not leave the cast to return to their old lives in the favelas. Help groups were set up to help those involved in the production to build more promising futures.
Read more about this topic: City Of God (2002 film)
Famous quotes containing the word production:
“The production of too many useful things results in too many useless people.”
—Karl Marx (1818–1883)
“... this dream that men shall cease to waste strength in competition and shall come to pool their powers of production is coming to pass all over the earth.”
—Jane Addams (1860–1935)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)