WELCOME TO "INDEPENDENT LENS", I'M AMERICA FERRARA.

AND THIS IS INDEPENDENT FILMMAKER LUCY WALKER.

SHE FOLLOWED INTERNATIONAL ART SUPERSTAR VIK MUNIZ INTO THE RIO DE JANEIRO LANDFILL.

Vik Muniz: WHAT I REALLY WANT TO DO IS TO BE ABLE TO CHANGE THE LIVES OF A GROUP OF PEOPLE WITH THE SAME MATERIAL THAT THEY DEAL WITH EVERY DAY.

America: HERE, 15,000 PEOPLE LIVE OFF GARBAGE.

NOW FIVE OF THEM ARE HELPING VIC USE TRASH TO CREATE ART THAT WILL SELL FOR THOUSANDS OF DOLLARS.

THE MONEY WILL HELP THEM.

BUT MORE IMPORTANTLY, MAKING ART GIVES THEM A NEW WAY TO SEE EVERYTHING.

"WASTE LAND", NEXT.

Announcer: THIS PROGRAM IS MADE POSSIBLE BY THE CORPORATION FOR PUBLIC BROADCASTING, THE NATIONAL ENDOWMENT FOR THE ARTS, AND BY CONTRIBUTIONS TO YOUR PBS STATION FROM VIEWERS LIKE YOU.

THANK YOU.

[JAZZ MUSIC PLAYING] POW.

[CHEERS AND APPLAUSE] [SPEAKING PORTUGUESE] [CHEERS AND APPLAUSE] [JAZZ MUSIC PLAYING] [CROWD CHEERING, DRUMS PLAYING] [INDISTINCT CHATTER] ONCE I WAS DRIVING IN SÃO PAULO.

I SEE A FIGHT.

I STOP TO BREAK THE FIGHT APART.

I BREAK THE FIGHT APART.

WHEN I'M GOING BACK TO MY CAR, I GOT SHOT BY ONE OF THE GUYS WHO THOUGHT I WAS THE GUY FIGHTING WITH HIM.

SORRY.

I HAVE TO DO THIS.

[WOMAN LAUGHS] LUCKILY, HE WAS VERY RICH AND HE GAVE ME SOME MONEY.

AND THAT'S WHEN I BOUGHT THE TICKET TO COME TO AMERICA IN 1983, AND THAT'S WHY I'M TALKING TO YOU TODAY-- BECAUSE I GOT SHOT IN THE LEG.

[APPLAUSE] Vik: "SUGAR CHILDREN'S" PROBABLY THE MOST IMPORTANT WORK IN MY CAREER, AND I THINK THIS IS THE FIRST TIME I ADDRESSED THE IDEA OF MATERIAL AS SOMETHING THAT EXISTS IN THE WORLD THAT HAS AN IMPORTANCE.

THESE ARE CHILDREN FROM THE CARIBBEAN ISLAND OF ST. KITTS.

THEY ARE SONS AND DAUGHTERS OF PLANTATION WORKERS.

I WOULD IMAGINE THE PROGRESSION FROM THOSE BEAUTIFUL, AMAZING CHILDREN TO A GROWN-UP, THEY WILL BE JUST AS HAPPY, 'CAUSE IT WAS PARADISE.

BUT THEIR PARENTS WERE VERY SAD, TIRED, WEARY PEOPLE WHO WORKED 16 HOUR SHIFTS IN THE SUGAR FIELDS.

AND I KEPT THINKING ABOUT WHAT WAS MISSING FROM THE TRANSITION BETWEEN THE CHILDHOOD LIKE THAT TO BEING VERY SAD GROWN-UPS.

AND IT WAS SUGAR.

THE SWEETNESS WAS TAKEN FROM THE CHILDREN.

SO WHEN I CAME BACK TO NEW YORK AND I STARTED TRYING TO DRAW THEIR FACES WITH SUGAR, I REALIZED THAT I COULD MAKE VOLUMES WITH THAT.

AND IT WAS QUITE BEAUTIFUL.

AND I SHOT THESE WITH A CAMERA.

PEOPLE FROM THE "NEW YORK TIMES" WROTE A REVIEW ABOUT IT, AND LATER, THE MUSEUM OF MODERN ART INVITED ME TO BE PART OF THE NEW PHOTOGRAPHY SHOW.

SO IT CHANGED MY CAREER ENTIRELY; THE WORK I DID WITH THOSE CHILDREN.

RIGHT NOW, I'M AT THIS POINT IN MY CAREER THAT I'M TRYING TO STEP A LITTLE BIT AWAY FROM THE REALM OF FINE ARTS.

'CAUSE I THINK IT'S A VERY EXCLUSIVE, VERY RESTRICTIVE PLACE TO BE.

WHAT I REALLY WANT TO DO IS TO BE ABLE TO CHANGE THE LIVES OF A GROUP OF PEOPLE.

WITH THE SAME MATERIAL THAT THEY DEAL WITH EVERY DAY.

[BOTTLES CLANGING] AND NOT JUST ANY MATERIAL.

THE IDEA I HAVE FOR MY NEXT SERIES IS TO WORK WITH GARBAGE.

WHEN YOU TALK ABOUT TRANSFORMATION, YOU KNOW, JUST BEING THE STUFF OF ART; JUST FORMING MATERIAL AND IDEA, I DON'T KNOW.

THIS IS THE BEGINNING OF AN IDEA.

I JUST HAVE THE MATERIAL.

AND I HAVE TO GO AFTER AN IMAGE.

HEY, FABIO.

YEAH.

SO DID YOU HAVE A CHANCE TO LOOK AT THAT GARBAGE THING?

YES.

CHECK THE LINK I JUST SENT YOU.

ON YOUTUBE, THERE IS A VIDEO THAT WAS SHOT AT THIS PLACE, IT'S CALLED GRAMACHO.

JARDIM GRAMACHO IS THE BIGGEST LANDFILL IN RIO.

THEY RECEIVE THE TRASH FROM ALL THE RIO AREA.

WHAT ARE THE DANGERS, WORKING A PLACE LIKE THIS?

WELL, FIRST OF ALL, THE PLACE IS SURROUNDED BY FAVELAS OWNED BY THE DRUG TRAFFIC.

AND I THINK THE STABILITY OF THE PEOPLE THEMSELVES, THEY ARE ALL EXCLUDED FROM SOCIETY.

SOME STAY THERE OVERNIGHT OR THE WHOLE WEEK.

IT'S GOING TO BE HARD.

SO DO YOU THINK IT'S TOO HARD?

UH, NO.

NO, BECAUSE I THINK IT WOULD BE MUCH HARDER TO THINK THAT WE ARE NOT ABLE TO CHANGE THE LIFE OF THESE PEOPLE, AND I THINK WE ARE, SO I THINK IT'S WORTH A TRY.

WOULDN'T THIS BE AN EXPERIENCE IN HOW ART COULD CHANGE PEOPLE, BUT ALSO, CAN WE CHANGE PEOPLE?

CAN IT--CAN THIS BE DONE?

AND WHAT WOULD BE THE EFFECT OF THIS?

[GIGGLING] [INDISTINCT CHATTER] [TOY SQUEAKING] [GIRL GIGGLING] THIS IS THE PLACE WHERE I'M GOING TO SPEND THE NEXT 2 YEARS... OF MY LIFE.

[MUSIC PLAYING] YOU'RE GOING TO MAKE YOUR ART OUT OF THE GARBAGE?

AND YOU'RE GOING TO EMPLOY THE PEOPLE THAT LIVE THERE, THAT WORK THERE?

YEAH.

HOW IS IT GOING TO BE, LIKE, THE WHOLE HEALTH ISSUE-WISE?

IF YOU WORK WITH THEM?

IT'S NOT EXACTLY SAFE TO DO WHAT THEY DO.

THEY DON'T QUESTION THAT, BECAUSE THAT'S WHAT-- YEAH, BUT WE DO.

ANYWAY, IT'S HARD TO MAKE THOSE ASSUMPTIONS FROM LOOKING FROM WHERE WE ARE.

I MEAN, WE HAVE TO GO THERE AND SEE WHAT THEY REALLY NEED.

SO YOU'RE GOING TO CREATE EVERYTHING... AND I WANT ALSO THE CHRONOGRAPHY OF THIS TO DEVELOP WITH MY INTERACTION WITH THEM; SEE WHAT'S IMPORTANT TO THEM.

WHAT WOULD THEY LIKE TO MAKE AN IMAGE MAKE?

WHAT WOULD THEY LIKE TO SHOW?

YOU KNOW, MAYBE IT WOULD END UP JUST BEING PORTRAITS.

BUT DO YOU THINK PEOPLE, THEY ARE OPEN TO WORK LIKE THIS?

YEAH, WE HAVE NO IDEA.

THIS IS PROBABLY THE ROUGHEST PEOPLE WE CAN THINK OF.

YOU KNOW, THEY'RE ALL DRUG ADDICTS.

THEY'RE, IT'S LIKE THE END OF THE LINE.

LOOK AT--CHECK OUT THE GEOGRAPHY OF THIS THING.

THIS IS LIKE THE END OF THE LINE.

THIS IS WHERE EVERYTHING THAT'S NOT GOOD GOES.

INCLUDING THE PEOPLE.

[INDISTINCT CHATTER] Fabio: YOU SEE, IT'S ALL RECYCLING INDUSTRY AROUND.

PEOPLE ALL DEALING WITH GARBAGE.

Vik: OH, MY GOD.

IT'S LIKE EVERY SINGLE LOT IS FILLED WITH GARBAGE.

AND YOU SEE, LIKE, PEOPLE ARE CARRYING GARBAGE.

IT'S LIKE A GARBAGE LAND.

PEOPLE WILL LOOK AT US LIKE, WHAT THE HELL ARE WE DOING HERE.

WELL, I SEE THE FILL.

OH, [...].

LOOK AT THE-- OH, MY GOD.

LIKE A MOUNTAIN.

[DOG BARKING] [SPEAKING PORTUGUESE] [INDISTINCT CHATTER] WOW.

[INDISTINCT CHATTER] [SPEAKING PORTUGUESE] [CAMERA SHUTTER CLICKS] NOT AS BAD AS I THOUGHT IT WOULD BE, REALLY.

YOU KNOW, HERE WE ARE AT THE LARGEST SANITARY FACILITY IN THE WORLD, AND...AND, NO, PEOPLE ARE CHATTY.

THEY SEEM--I DON'T SEE PEOPLE DEPRESSED OR ANYTHING.

THEY SEEM VERY PROUD OF WHAT THEY'RE DOING.

BUT WE BETTER GET OUT OF HERE.

[INDISTINCT YELLING] BUT YOU SEE UP THERE, IT'S ALL-- IT LOOKS VERY CHAOTIC, BUT IT'S VERY ORGANIZED.

CATADORES MEANS THE PICKERS.

THEY'RE THE ONES WHO SORT THROUGH THE GARBAGE.

WHAT I LEARN HERE IS THAT THEY HAVE THEIR OWN CHOICES OF SOLID GARBAGE OR RECYCLABLE GARBAGE THAT THEY CAN--WOMEN FIRST, THEY PREFER, LIKE, RECYCLEABLE PLASTIC AND SOFT DRINK BOTTLES AND DISPOSABLE PLASTIC, BECAUSE IT'S LIGHTER.

[SPEAKING PORTUGUESE] [DRUMS PLAYING, SINGING IN PORTUGUESE] [SPEAKING PORTUGUESE] [SPEAKING PORTUGUESE] [INDISTINCT CHATTER] [SPEAKING PORTUGUESE] [INDISTINCT CHATTER] [INDISTINCT CHATTER] [SPEAKING PORTUGUESE] [CAMERA SHUTTER CLICKING] Vik: OHHH.

[INDISTINCT CHATTER] [SPEAKING PORTUGUESE] [DOG BARKING] [INDISTINCT CHATTER] [SPEAKING PORTUGUESE] [CAMERA SHUTTER CLICKING] [SPEAKING PORTUGUESE] [INDISTINCT CHATTER] [SPEAKING PORTUGUESE] [DOGS BARKING] [SPEAKING PORTUGUESE] [SINGING IN PORTUGUESE] [SPEAKING PORTUGUESE] [CHILDREN LAUGHING AND SHOUTING] [SUELEM YELLING] [SPEAKING PORTUGUESE] [BABY CRYING] [SPEAKING PORTUGUESE] WHAT WE SHOULD DO NOW IS TO GET RID OF SOME AND CHOOSE THE BEST PICTURES.

CHOOSE THE BEST ONE.

THIS IS SO GOOD.

THIS IS SPECIAL.

YEAH, I LOVE IT, TOO.

THIS IS SUPER STRONG.

THIS IS SUPER STRONG.

YEAH.

BUT THIS IS VERY NICE, TOO.

I LOVE THESE, AS WELL, BUT THESE SHOTS AREN'T QUITE RIGHT.

WE CAN SHOOT THEM IN THE STUDIO, ALSO.

YEAH.

IT'S NOT A PROBLEM.

[SPEAKING PORTUGUESE] SUELEM HAD 2 KIDS.

THAT WAS STARTED BY THE FEELING THAT WE SHOULD DO SOMETHING THAT WILL CONVERT BACK TO THEM.

WE'LL MAKE--YEAH.

RIGHT.

WE'RE GOING TO DO SOMETHING THAT'S MADE OUT OF GARBAGE, AND IT WILL BE SOLD FOR A LOT OF MONEY, AND IT WILL BECOME SOMETHING THAT THEY CAN PUT THEIR HANDS ON, THAT THEY CAN FEEL IS ACTUALLY HELP THEM.

IN THE END, THERE, IT'S NOT-- THEY'RE NOT GOING TO SAY, "OH, VIK DID IT."

RIGHT.

WE DID IT.

RIGHT.

[INDISTINCT TALKING] [WEEPING] [SPEAKING IN PORTUGUESE] [INDISTINCT TALKING] [SPEAKING IN PORTUGUESE] [INDISTINCT TALKING] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [SPEAKS IN PORTUGUESE] [CHEERS AND APPLAUSE] [SPEAKS IN PORTUGUESE] [SPEAKING IN PORTUGUESE] SURVEILLANCE.

[LAUGHS] [SPEAKS IN PORTUGUESE] [BOTH SPEAKING IN PORTUGUESE] [INDISTINCT TALKING] LOOK AT THIS.

AS FAR AS YOU CAN SEE, YOU KNOW, YOU SEE THERE'S A HUGE [INDISTINCT].

THEY BECOME A SORT OF A TEXTURAL THING.

YOU LOSE THE SENSE OF SCALE.

THEY START FEELING LIKE THEY'RE SMALL AND JUST LOOK LIKE HAIR.

IT'S NOT A PRETTY PLACE, EXCEPT WHEN YOU LOOK FROM VERY FAR AWAY.

THIS IS WHERE I GREW UP.

EVERY TIME WE TALK ABOUT SOME FRIEND THAT LIVE HERE, THEN WE SAY, "OH, HE DIED."

SO MANY OF THEM DIED.

THEY DIED FROM DRUG TRAFFIC, OR THEY DIE FROM ALL KINDS OF STUFF.

THAT USED TO BE MY ROOM WHEN I WAS A KID.

NOW, IT'S JUST A GUEST ROOM.

THERE WAS ALWAYS A LOT OF HUMIDITY ON THE WALL 'CAUSE, YOU KNOW, SAO PAULO, IT'S VERY RAIN ALL THE TIME.

I USED TO HAVE MY BED HERE, AND THERE WAS ALL THESE STAINS, YOU KNOW.

I USED TO MAKE A DIARY OF HOW THE STAINS WOULD DEVELOP.

USED TO BE A VERY ROUGH NEIGHBORHOOD.

YOU KNOW, IT'S SLOWLY-- NOW, IT'S BECOMING, UH...

SORT OF A LOW, LOW MIDDLE CLASS NEIGHBORHOOD.

BUT IT'S SAFE, AND ITS PEOPLE CAN LIVE HERE DECENTLY.

I WAS NEVER, UM...

ASHAMED OF BEING POOR.

I WAS, YOU KNOW-- AND I WAS ALWAYS PROUD OF MY PARENTS.

[DISTANT HORN HONKS] [SPEAKING IN PORTUGUESE] [INDISTINCT TALKING] MY GRANDMOTHER BROUGHT ME UP BECAUSE MY MOTHER, SHE HAD TO WORK AT THE PHONE COMPANY, AND MY FATHER, HE WORKED THE NIGHTS.

SOMETIMES, HE WORKED 2 SHIFTS.

THIS IS ANA [INDISTINCT].

SHE IS THE MOST IMPORTANT WOMAN IN MY LIFE.

SHE IS 93 YEARS OLD.

HMM?

[SPEAKING IN PORTUGUESE] [LAUGHS] [INDISTINCT TALKING] [SPEAKING IN PORTUGUESE] [SPEAKS IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [WEEPING] [SPEAKING IN PORTUGUESE] [LAUGHS] [BOTH SPEAKING IN PORTUGUESE] WE REALLY HAVE TO BE VERY CAREFUL, 'CAUSE I REALLY CAN SEE ALREADY HOW DELICATE THE WHOLE SITUATION OF HAVING THEM THERE IS FOR THEM, FOR THEIR MIND.

LIKE, THEY TOTALLY FORGOT ABOUT GRAMACHO.

THEY DON'T WANT TO GO BACK.

[INDISTINCT] I HAD--AT LEAST, I HAD THE IMPRESSION, AND I THINK NOW THAT THIS IS WRONG, THAT THEY WERE HAPPY THERE, AND I THINK IT HAS A LOT TO DO WITH DENIAL.

I THINK THAT'S EXACTLY WHERE YOU REACH THE POINT TO THINK, SHOULD YOU TAKE THEM TO LONDON?

I THINK IT'S QUITE-- IT'S A SUPER DELICATE QUESTION, BECAUSE THEY-- IF YOU'RE STARTING TO CHANGE THEM ALREADY JUST BRINGING THEM TO THE OTHER STUDIO, JUST INVOLVING THEM IN A DIFFERENT LIFESTYLE IN RIO, WHAT'S GOING TO HAPPEN TO THEM ONCE YOU TOOK-- YOU KNOW, PUT THEM IN A PLANE?

YOU'RE SAYING, OH, THIS IS GOING TO MESS UP WITH THEIR MINDS.

WELL, MAYBE THEIR MINDS NEED TO BE MESSED UP WITH.

BUT IF YOU SHAKE THEM UP AND SAY, HELLO, THIS IS ALL-- YOU KNOW, LIFE IS DIFFERENT.

YOU CAN DO THIS.

YOU CAN DO THAT.

IS IT REALISTIC ENOUGH TO THINK THAT-- WHAT CAN THEY DO WITH THAT AFTERWARDS HERE?

IT'S REALLY HARD FOR ME TO IMAGINE DOING SOMETHING THAT WOULD DO MUCH DAMAGE TO THEM, DO WORSE THAN WHAT HAS BEEN DONE TO THEM ALREADY.

WHAT IS IT YOU HAVE TO DO THAT YOU HAVE TO CHANGE SOMEBODY'S LIFE FOREVER?

AS LONG AS YOU THINK THE OTHER PERSON CAN COPE WITH IT AFTERWARDS.

BUT IF YOU DON'T-- IF YOU'RE NOT SURE IF THE PERSON CAN DEAL WITH IT-- PEOPLE ARE FRAGILE.

OH, IT IS MY RESPONSIBILITY.

THAT'S NOT-- THAT'S WHAT I THINK-- NO, IT IS, BECAUSE THE PURPOSE-- YOUR RESPONSIBILITY, I THINK, IS MORE-- BUT LET ME ANSWER THAT.

[SPEAKS IN PORTUGUESE] LET ME ANSWER THAT.

[SPEAKS IN PORTUGUESE] NO, BUT YOU SAID IT'S NOT MY RESPONSI-- HE DOESN'T LET ME TALK I'M SAYING IT IS.

LET ME JUST, FOR ONE MOMENT, THINK ABOUT SOMETHING ELSE.

NOW, THESE GUYS ARE GOING TO THERE.

THEY WORK IN THE STUDIO.

AND WHAT'S HAPPENING TO THEM, THEY'RE THINKING, "I DON'T WANT TO GO BACK TO GRAMACHO."

Man: UH-HUH.

IS THAT SOMETHING BAD, ONE WAY OR ANOTHER?

NO, THAT'S GOOD.

NO, IT'S GOOD.

YOU KNOW, ISN'T THIS GOOD?

MAYBE THEY WILL HAVE TO GO, AND THEY'LL HAVE TO THINK OF A PLAN TO GET OUT OF THERE.

THEY GET TO SEE ANOTHER REALITY, AND THAT CHANGES THEIR WAY OF THINKING.

I--IT'S HARD FOR ME-- IT'S HARD FOR ME-- IT'S HARD FOR ME.

IT CHANGES THE WAY OF THINKING.

IT DOES.

IT DOES.

SO?

FOR SOME PEOPLE, IT CHANGES THEIR WAY OF THINKING.

SOME PEOPLE JUST GO TO BED BETTER BECAUSE THEY THINK THEY DID SOMETHING.

I DON'T THINK IF I WAS A CATADORE OUT IN GRAMACHO, AND SOMEBODY SAID TO ME, "LISTEN, DO YOU WANT TO COME DO THESE THINGS, "WORK 2 WEEKS IN THIS ARTIST'S STUDIO "MAKING A PORTRAIT OF THEIRSELF?

"OH, AND BY THE WAY, WE MAY TAKE YOU TO A FOREIGN COUNTRY.

"BUT AT THE END OF ALL OF THIS, "YOU'LL BE BACK HERE COLLECTING GARBAGE.

WOULD YOU LIKE TO COME?"

I KNOW THAT I WOULD SAY YES.

[SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [CHEERS] [LAUGHS] [HORNS HONKING AND TRAFFIC PASSING] [INDISTINCT] [SPEAKING IN PORTUGUESE] [LAUGHS] [SPEAKING IN PORTUGUESE] [LAUGHS] [SPEAKING IN PORTUGUESE] IT IS A VERY FINE WORK.

THERE IS STRONG DEMAND FOR WORKS BY VIK MUNIZ, IN GENERAL.

SO I DO HOPE, OBVIOUSLY, THAT HIS RISK IS GOING TO PAY OFF.

IT'S GOING TO WORK, MAN.

IT'LL WORK.

IT'LL WORK.

WE'LL SEE.

WE'LL SEE.

IT'S GOING TO WORK.

COME ON.

OOH.

Simon de Pury: IT'S A VERY BOLD STEP FOR VIC MUNIZ TO CONSIGN A WORK DIRECTLY TO AN AUCTION.

IN THE PAST, ARTISTS WOULD GO THROUGH WHAT YOU CALL THE PRIMARY MARKET.

THEY WOULD BE SOLD FOR THE FIRST TIME IN A GALLERY.

[CROWD MURMURING] THANK YOU.

LOT NUMBER 225, "9 MULTICOLORED MARILYNS" BY ANDY WARHOL.

[BOTH SPEAKING IN PORTUGUESE] ALL DONE, LAST CHANCE AT-- SOLD.

WHAT IS YOUR NUMBER?

Woman: 5025.

THANK YOU SO MUCH.

[SPEAKING IN PORTUGUESE] LOT NUMBER 272, THE GREAT WORK BY VIC MUNIZ, "MARAT (SEBASTIAO): PICTURES OF GARBAGE."

AND WE WILL START THIS AT 10,000 POUNDS.

10,000 POUNDS THIS LOT.

10,000.

12,000 POUNDS.

[INDISTINCT] CAMPO.

14,000.

AT 14,000.

16,000.

18,000.

20,000 IN THE FAR BACK NOW.

AT 20,000 POUNDS.

20,000.

22,000.

WITH A NEW BID AT 25,000.

AT 25,000.

AGAINST YOU, JENNY.

AT 25,000.

28,000.

AT 28,000.

IT'S AGAINST YOU, DIEGO, NOW.

AT 28,000 IN.

IT IS AT THE FAR BACK OF THE ROOM AT 28,000.

SO DONE.

SOLD.

AND IT IS... [LAUGHS] [INDISTINCT] MMM.

[SNIFFLES] [WEEPING] [BOTH SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [MUTTERS INDISTINCTLY] [DOG BARKS] [ROOSTER CROWS] [DISTANT SIREN] [INDISTINCT SHOUTING] [SPEAKING IN PORTUGUESE] [CHEERING] YES!

[ALL SPEAKING IN PORTUGUESE] [LAUGHTER] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [LAUGHTER] [LAUGHTER] [SPLASHING] [INDISTINCT TALKING] [BOTH SPEAK IN PORTUGUESE] [ENGINE REVS] [SPEAKING IN PORTUGUESE] [INDISTINCT TALKING] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [INDISTINCT TALKING] [SHUTTERS CLICKING] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [ALL SPEAKING IN PORTUGUESE] [SPEAKING IN PORTUGUESE] [CAR APPROACHING] I KNEW THAT I COULD DO THE WORK, BUT I DID NOT COUNT ON BEING AS INVOLVED WITH THE PEOPLE THAT I WAS WORKING WITH AS I DID.

IT JUST WAS IMPOSSIBLE NOT TO.

I THOUGHT I COULD JUST GO THERE AND PAINT JARDIM GRAMACHO LIKE, YOU KNOW, CEZANNE PAINTED, YOU KNOW, MOUNT SAINTE VICTOIRE.

JUST, LIKE-- JUST DO, YOU KNOW, BE COOL ABOUT IT.

AND THEN-- AND TRY TO JUST DO MY WORK AND LOOK AT IT AS A REPRESENTATION.

AND IT'S NOT.

IT'S A LOT MORE THAN THAT, BECAUSE IT HAS ITS OWN HUMAN SIDE THAT A PICTURE CANNOT REALLY TRANSLATE.

IT COULD BE ME.

I MEAN, FROM THE STORIES THESE PEOPLE TELL, A LOT OF THEM, THEY WERE, YOU KNOW, LOW MIDDLE CLASS PEOPLE THAT, FOR SOME UNFORTUNATE EVENT, THEY JUST ENDED UP HAVING TO GO THERE AND LIVE IN THE GARBAGE.

SEE, I WAS BORN A LOW MIDDLE CLASS HOUSEHOLD IN BRAZIL.

IF SOMETHING HAD HAPPENED TO MY PARENTS, I COULD BE LED TO A LIFE LIKE THAT.

IF YOU CAN PUT YOURSELF IN THEIR OWN SHOES, START LIVING THEIR LIVES AND THEN FIGURING OUT WHAT THEY HAVE TO DO TO JUST CONTINUE LIVING, IT'S HARD.

BUT ON THE OTHER HAND, WHEN YOU SEE THE APPETITE FOR LIFE THESE PEOPLE HAVE, AND THE WAY THEY CARRY THEMSELVES, AND IT'S JUST INSPIRING.

[BEEPS AND CLICKS] OH, HELLO.

[BEEPS AND CLICKS] [LAUGHTER] YEAH, MAN.

YOU GOT IT.

[CHUCKLES] I START THINKING ABOUT HOW TO HELP PEOPLE, AND ALL OF A SUDDEN, I FEEL VERY ARROGANT ABOUT IT.

WHO AM I TO HELP ANYBODY?

BECAUSE AT THE END, YOU KNOW, I FEEL LIKE I'M BEING HELPED MORE THAN THEY ARE.

EVEN IF EVERYTHING WENT WRONG, I COULD STILL BE LIKE THEM.

AND THEY'RE BEAUTIFUL.

THEY'RE GREAT PEOPLE.

YOU KNOW?

THEY JUST-- THEY DIDN'T-- THEY WEREN'T VERY LUCKY, BUT THEY'RE GOING TO CHANGE THAT.

[CHILDREN SHOUT INDISTINCTLY] [DOG BARKING] [SPEAKING IN PORTUGUESE] [LAUGHTER] [SPEAKING IN PORTUGUESE] [SPEAKS IN PORTUGUESE] [SPEAKS IN PORTUGUESE] TA-DA!

[SPEAKING IN PORTUGUESE] [ALL SPEAKING IN PORTUGUESE] [ALL SPEAKING IN PORTUGUESE] [LAUGHTER] [ALL SPEAKING IN PORTUGUESE] [ELECTRONICA MUSIC PLAYING] [INDISTINCT TALKING] [SHUTTER CLICKS] [HONKS] [CHEERING] [SPEAKING IN PORTUGUESE] [CHEERING AND APPLAUSE] [THEME MUSIC PLAYING] [BOTH SPEAKING IN PORTUGUESE] [CHEERING AND APPLAUSE] [LAUGHTER, CHEERING, AND APPLAUSE] [ELECTRONICA MUSIC PLAYING] ♪ COME ON, BABY ♪ ♪ COME ON, GIRL ♪ ♪ COME ON, BABY ♪ ♪ OH, COME ON, GIRL ♪ ♪ I LOVE YOU, BABY ♪ ♪ I LOVE YOU NOW ♪ ♪ NOW, NOW ♪ ♪ I LOVE YOU, BABY ♪ ♪ I LOVE YOU NOW ♪ ♪ LOOK AT US, WE'RE BEAUTIFUL ♪ ♪ ALL THE PEOPLE PUSH AND PULL ♪ ♪ BUT LET'S JUST GO OUT AND RIDE ♪ ♪ TALK ABOUT THE THINGS WE'VE TRIED ♪ ♪ LOOK AT US, WE'RE BEAUTIFUL ♪ ♪ ALL THE PEOPLE PUSH AND PULL ♪ ♪ BUT THEY'LL NEVER GET INSIDE ♪ ♪ WE GOT TOO MUCH TO HIDE ♪ ♪ COME ON, BABY... ♪ COMING SOON TO "INDEPENDENT LENS..." Announcer: AFTER A BRUTAL ATTACK LEFT HIM BRAIN DAMAGED AND WITHOUT A MEMORY, AN ARTIST CREATES HIS OWN THERAPY.

THIS IS ME.

AN IMAGINARY TOWN WHERE HIS ALTER EGO OWNS THE LOCAL BAR FILLED WITH DOLLS THAT REPRESENT HIS FAMILY AND FRIENDS.

ACTION AND ADVENTURE, ROMANCE AND REDEMPTION...

"MARWENCOL."

SEE YOU NEXT TIME ON "INDEPENDENT LENS."

Announcer: CONNECT WITH "INDEPENDENT LENS" ONLINE AT PBS.ORG.

MEET OTHER INDIE FILM FANS, SHARE YOUR THOUGHTS, WATCH VIDEOS, AND EXPLORE INTERACTIVE FEATURES.

THERE'S ALWAYS MORE TO EVERY PROGRAM ON OUR WEBSITE.

Announcer: THIS PROGRAM IS MADE POSSIBLE BY THE CORPORATION FOR PUBLIC BROADCASTING, THE NATIONAL ENDOWMENT FOR THE ARTS, AND BY CONTRIBUTIONS TO YOUR PBS STATION FROM VIEWERS LIKE YOU.

THANK YOU.

[PLAYING] BE MORE.

PBS.