On December 28, 1992, 18-year-old documenter Tatiana Issa had lunch with fellow series co-star Raul Gasola in Projac, where the two recorded for the TV series “Deus nos Acuda”. It was a normal day. But on the same night, Gasola’s wife, actress Daniela Pérez, was murdered by Guilherme de Padua and Paula Tomaz. The crime shocked the entire country. Can you imagine what it was like for anyone who was close to Danny?
Tatiana saw this pain up close. Two of her best friends from that night went into deep sorrow. One of them, Danny’s cousin Barbara Ferrante, went with her family to the crime scene, where she fell to the ground when she saw her deceased cousin. Tati’s best friend at the time, producer Marcella Hönigmann, spent the night trying to locate the actress. Because she is so close to Daniela’s circle, Tatiana went to the actress’s funeral at the São João Batista Cemetery in Rio de Janeiro.
Almost thirty years later. Tatiana, 48, an award-winning documentary filmmaker living in New York, is one of the directors (along with Gotto Barra) of the documentary “Pacto Brutal,” which tells the crime story, breaks audience records and is a hit on HBO. Max. In the five-episode series, the murder was said because whoever felt that pain, Gloria Perez, friends, and family. In addition, the judgments, as well as the absurdities that are practiced against Daniela, are shown by the media. For years, many reported that she was having an affair with Guilherme, then her co-star. silly.
Tatiana decided to tell the story after she dreamed of Daniela and emailed Gloria Perez, who said she loved her work and allowed the production. One of the reasons Gloria said “yes” was the movie “Dzi Croquettes”, released by Tatiana in 2009, in which the director tells the path of the latest set of the seventies from an intimate perspective. His father, photographer Ameriko Issa, belongs to the Dzi Group.
Today she is a partner with journalist and director Goto Barra in the production company “Production Partners”. Through the producer’s work, she and Goto have already won an Emmy and been nominated for two.
Speaking to the column, Tatiana told behind the scenes of the series and explained why the documentary is for her a story about “women’s power”.
UNIVERSA You were an actress in the 90s Did you know Daniela?
Tatiana Issa Yes. I was working with Raoul [Gazolla] when the crime occurred. We signed up for Globo that day. We had lunch together and left. Then the madness started looking for her, not finding her [o primeiro episódio da série mostra essa busca, já que Daniella saiu das gravações nos estúdios da Globo e não chegou ao local de ensaio de sua nova peça]. And I was a very good friend of two people on the series as well, Marcela, who produced her play, was my best friend, that teen I talk about every day. She was also a friend of Daniela’s cousin, Barbara. I wasn’t close to Danny. We never talked much, let’s become friends. But all this was in the family. They were always talking about it. Danny, despite not being close to me, has been a part of my life.
Did you follow the despair of friends in search of her and in front of the news of her death?
Of course, especially Marcela. He calls her, “I found,” “I didn’t find.” So much so that I went to the funeral. That was the era of the landline. to say “Where’s everyone?” “At the police station, no, now he’ll wake up.”
There is a part we cut from the series. But when I asked Barbara, “What’s the first thing you remember about mindfulness?” She answers, “The hug you gave me.”
Look how crazy he is. What a coincidence of life.
Why, after so many years, did you decide to tell this story?
I always thought about this story. I always commented to Guto (Barra, Tatiana’s partner) that this was a documentary I’d like to make, and it was a very silly story. But we always thought someone was already doing it.
One night I dreamed of Danny and decided to talk to Gloria, although I thought someone had already done it or that there was already a documentary ready to celebrate the 30th anniversary of her death. I emailed at 12:30 and said, “Gloria, are you doing something, is there an idea to do it? Or do you not want to do it because the topic is so sensitive? If it is, I’ll respect it, but if you want, I’m on ready”.
At the same time she responded that she was a fan of “Dizzy Crockett”. [longa dirigido por Tatiana]who admired the gentleness of my work and who, also because I knew Danny, was the perfect person to produce the documentary.
You also get access to many photos of her dead and other sensitive items. How was he dealing with pain and emotion on set?
It was a lot of pain and emotion. Gloria’s permit took 20 hours. Every hour someone cries sound technician and photographer. We’d stop, have coffee, and come back.
Gloria gave us her entire dossier. He made everything possible. There was a recording, a forensic examination photo, his childhood photo.
We plunged into a deep dive into Daniela’s world. It’s very painful, because we saw Danny as an infant, child, and teen and then forensic photos of her body.
And we’ve seen worse, horrific, and cruel images that we decided not to put into the documentary. It was really difficult.
What is the most difficult moment for you?
The scene in which Barbara, Danny’s cousin, opens the bag with the clothes she was wearing on the day of the murder. Experience gave this to Gloria and it has been kept for 30 years. It has never been opened.
And to score close-up photos, I had to get the clothes. When I opened that bag, I saw that the shoes still had sand in them, because they had been dragged, and there was still blood on the pants, and there was the smell, and the earth. This is a concrete embodiment of death. I stopped everything and cried for 45 minutes. I hugged the clothes as if I were Danny.
It’s crazy to have all this in your hand. It’s as if you went back 30 years ago. You see that girl’s blouse, that belt. Knowing that there is life there is nerve-wracking.
You posted a picture on Instagram of a hug between you and Gloria, where it looks like she’s welcoming you.
If she is. Gloria is such a strong woman that she’s strong even for that. When she let me do the series, I told her we were going to hold hands, and that we were going together.
At the time this photo was taken, that was the end of the trip. Her testimony lasted 20 hours, and took three days. And every hour one bursts into tears. Everything was very painful.
Every time on set someone cried, it was the make-up artist, me, Goto. This hug is the end. It is very beautiful, because it shows how we welcome each other.
The series shows a lot of Gloria’s power. How do you see the role of women in the series?
I think the show, more than it’s about crime, is about the power of a woman. It was the woman who managed to make history move.
It’s the mother who goes after the truth, it’s Elba Boychat, the journalist, who goes after her and publishes a report, it’s Akari’s moms, and the employee Sulli Gosu, who handled the case, Joselia Brandao [mãe de da menina Miriam, também assassinada em 92, que lutou junto com Glória]. And the one who decided to highlight this story was me, a woman.
You see feminine power from the beginning to the end of this story, men trying to “let it go”, not commit and women say “No, no, we have to solve it!”.
The series is a huge success. What makes you happiest about it?
I am very happy with the recognition Gloria is receiving. What a woman, what a mother, the strength she has, to continue, to continue writing, to fight. Seeing this is very powerful.
It is so beautiful to see the passion with which people treat Gloria. You can see that this woman isn’t just a serial author, she’s an amazing mom. I think this series, more than a murder, is about a mother’s struggle.
#Nina #Lemos #cried #embracing #Danielas #clothes #Bacto #Brutal #Director