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Partying 35 years of career, the actor, musician and composer Potiguar lives a plural moment in his artistic trajectory. Currently in Globoplay, the famous not only acts, but also signs songs that make up the production trail. He also integrates the cast of the movie man with H, about the life of Ney Matogrosso, playing conductor Levino.
In talking about his career, Marco recalls decisive moments: “I believe my coming to Sao Paulo is a watershed in this trajectory. Here I was able to experience a reality as a self -employed artist, since all my previous experiences were linked to collective performances.
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The actor also commented on the experience of uniting acting and music in warriors of the Sun: “As there are few records of Forrós of the 1920s and 1930s, we use the Lampião’s songs as a reference, played by the dry Volta. Composing songs that dialogue with the scenes was very organic to me. It is almost inevitable that my musical side overflows for other roles,” he said.
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Marco França
Photo: Caio Oviedo
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Marco França
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Marco França
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Marco França
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Marco França also highlighted the relevance of productions with northeastern roots gaining space in streaming: “The market began to look more attention to us, artists from the Northeast. We are plural: backwoods, city, coastal, contemporary, with different accents and ways”.
About his participation in man with H, he said: “How lucky my debut in the feature films telling the story of an artist as amazing as Ney Matogrosso! In the movie, I make Maestro Levino, who welcomed Ney the way he is, letting him sing with his striking voice. Seeing the audience hugging the movie is too exciting.”
The musician also prepares the release of his first authorial album. In addition, Marco França continues to contribute to the musical theater, as a musical director of Rita Lee – a musical autobiography, starring Mel Lisboa, who has traveled the country and has won public and critics.
Check out the full interview with Marco França:
It’s 35 years of artistic career! What moments were more transformatives on this path as an actor and musician?
I believe my coming to Sao Paulo is a watershed in this trajectory. Here (SP) I was able to experience a reality as a self -employed artist, since all my previous experiences were somehow linked to collective making. And this has expanded my possibilities for encounters to work with even greater diversity of groups and artists. From this migration I also started doing original voice work and my start at audiovisual (TV and cinema). Everything has been resignified since then.
You are in “Warriors do Sol” as an actor and also with your songs on the trail. What was it like to live this duality in the project?
In addition to an actor, I’m also a composer, so I already have the habit of thinking about the music from the characters. Since there are few records of forrós from the 1920s and 1930s, we used as a reference the Lampião songs, played by Volta Seca – which was even one of the gang’s cangaceiros. From this, composing songs that dialogued directly with the scenes was something that happened very organically to me. And I believe this will continue to happen… I’m sure I will still find other characters that, like Fabiano, will end up borrowing me this musician side of mine. It is almost inevitable. I think this is a differential in my work: this mixture between actor, musician and composer that ends up overflowing from one role to another.
What is the importance of having productions with northeastern roots gaining prominence in streaming?
I think the market started to look more carefully at us, artists from the Northeast – who we are, what we produce. And we are plural: we are the staff of the backlands, the city, the coastal… we are urban, contemporary, with different accents and ways. A very diverse people. There in Natal, where I was born, it was always easier to make music and theater, it was the most within reach. Already the audiovisual, especially at the beginning of my career as an actor, about 25 years ago, was much further, with few opportunities. But the cinema and TV pet has always bit me – this desire to explore other languages always walked with me.
Talk a little about your role as conductor Levino in the movie Homem with H. What was it like to dive into Ney Matogrosso’s universe?
What a beautiful phase is living Brazilian cinema! And look, how lucky my debut in the feature films with H, telling the story of such an amazing and unique artist as Ney Matogrosso! In the movie, I make Maestro Levino, a super important Pernambuco in Ney’s life. It was he who had the sensitivity of welcoming Ney the way he is and has always been letting him sing with that striking, personality voice, even inside a choir – which is often a more rigid space, where everything tends to be standardized, especially in the 1960s. And the most beautiful is that this scene is only in the movie because Ney himself made a point of her, so significant. See how the audience hugged the movie, crowding the rooms all over Brazil and now can be seen on streaming is too exciting!
Is there a special relationship between the music you make and the boldness that Ney represents?
I believe every artist needs to think and be a little out of what is expected of him. Our function is to provoke critical thinking, a more subversive and questioning look at the world. And Ney when it comes to overthrow doors and paradigms with all its elegance and genius. He performs transgression very naturally being who he is, simply existing. I seek to be a percent like this when I put my art in the world. Ney is certainly a great inspiration to me. The Dry and Wet Disc was one of my main musical references in my teens.
His first copyright album is coming. Is there a new work track that has a special meaning for you? Why?
Difficult to elect one, because they are records of unique moments. Whether it is saying, the moment it was composed, recorded or the people who are playing in that track. But I highlight the song “Almost everything almost nothing” that was composed in partnership with actor, director and playwright Henrique Fontes at the time we were setting up the show a lot of noise for almost nothing (2003), an adaptation of Shakespeare’s “almost” work with the Shakespeare Clowns Theater group (RN) that was part of 15 years and was very important in my formation as an artist. This song was the theme song of this play that was my first as actor and music director and marks the beginning of my professionalization in the theater.
His contribution to the musical theater is giant. What is it like to sign the musical direction of a success like Rita Lee – a musical autobiography?
Ah, having been next to Marcinho Guimarães in the musical direction of this success that is Rita Lee – a musical autobiography was amazing! A gift even receive this invitation from my friend and director Márcio Macena. Imagine: To be able to dive into a repertoire as powerful as Rita’s… There is no way to go wrong! The show has arrived – debuted with all the tickets sold out and, which was supposed to be just a three -month season, ended up having more than a year on the same theater. Now it is traveling around the country, and it is beautiful to see the affection of the public in each city. Of course there are many factors that explain all this success. Mel, for example, is brilliant like Rita.
There are times when we catch ourselves thinking, ‘Guys, is she there on stage?!’. But in the end, the truth is that the great star behind all this is Rita Lee herself. This phenomenon, this wonderful wizard, which is still enchanting and inspiring everyone.
You made your TV debut in Sertão sea recently. Why did it take so long for this space to open?
Look, surely Mimoso Fuba was a watershed for me as an actor – especially in the audiovisual, because it was there that I stepped on the small screen for the large audience. A milestone, no doubt! The truth is that my trajectory has always been much more linked to music and theater, and everything was happening very naturally, without great planning. Already audiovisual… is another roll. It has many variables involved to be able to do a job, whether in cinema, series or TV.
And there is another important point in all this: this opening for artists outside the Rio-São Paulo axis is still very recent. Coming from Christmas, which was where I grew up and graduated as an artist, I felt that access was more limited. But at the same time, I really believe things come when they need to arrive. And I’m glad this moment came from a short time ago.
As a northeastern artist, what changes do you see, or wait, in the Brazilian audiovisual market?
I sincerely hope that one day we stop needing to talk about it. And I think it will only happen when the people who give the final word in a cast choice, for example, understand that just as Sudestine actors can make characters with other silences that are not their origin, we actors in the Northeast, who have 9 very different states including and considering their diversity in prosody we can also make sidestin characters. When I simply remembered as a “actor” regardless of where I come from and that this is not an impediment to thinking of me as types or characters other other than the archetype or fantasy of the invented Northeast’s imagination, then we will be at another more balanced moment regarding good job opportunities.
If you could summarize these 35 years in a verse or a song, what would it be?
Undoubtedly Milton Nascimento’s “hunter of me”: “Nothing to fear but the running of the fight. Nothing to do but forget the fear. Open the chest to the strength, in a search. Escape the traps of the dark woods. Far away dreams too much, but where is it like this. I will find out what makes me feel: me, hunter of me”.
