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Q What kind of car did Sam drive to deliver the refund check?
A It's a Messerschmidt. Gilliam obtained two from a collector's club in order to shoot the film, one of which was destroyed for the scene at Shangri-La Towers.
Q What does Jack Lint's little girl say to Sam after Jack leaves?
A "Put it on, big boy. I won't look at your willy." Holly, the little girl, is Gilliam's daughter Holly Gilliam.
Q Who is Sam's mother played by in the scene at Mrs. Terrain's funeral?
A Its Kim Greist, who plays Jill Layton. Gilliam shot footage with both Greist and Katherine Helmond playing the part, and decided to use the footage of Greist with Helmond's voice dubbed in. However, if you look closely, the last shot of Sam's mother is Katherine Helmond.
Q Who is the rock man supposed to represent?
A Sam's boss at the Department of Records, Kurtzmann.
Q Who does Sam find when he lifts the faceplate of the Samurai?
A
Himself, which lends itself to the Quixotic nature of Sam's quest.
The samurai is a huge, monolithic, powerful machine, and is assumed
to represent technology -- and Sam finds his own participation
in the machinations of this technologically based society to be a
hindrance to his own self.
Gilliam hinted, during a recent Q & A session on America Online,
that the Samurai may simply be a bad pun. The word samurai, divided
into syllables, sounds like the phrase "Sam or I"... and later,
Gilliam mentioned that it could mean, "Sam, you are I".
Q Why the hideous masks, like the one Jack Lint wears for the interrogation?
A Gilliam's mother once sent him a mask like that, and it haunted him ever since. Gilliam intended the effect of combining the masks and the decaying bodies of the Forces of Darkness (the small, troll-like creatures which Sam sees in his dreams) to be an intermingling of the beginning and ends of life.
Q Does Gilliam cameo in the film?
A Gilliam himself appears as one of the lurkers in Shangri-La towers, the one belching smoke as he runs into Sam. The lurkers were put in the script to get the idea across that people were being arbitrarily picked out for surveillance.
Q How is the song "Brazil" used in the movie?
A As well as frequently occurring as a theme in the orchestral soundtrack, the song Brazil is hummed by Tuttle as he puts the panel back inside Sam's apartment, and by Sam as he folds up Mrs. Buttle's check and puts it in the pneumatic delivery tube. A few notes of the song are played by the keypad as Sam punches in "EREIAMJH" in Mr. Helpmann's lift.
Q Are there any references to other films in Brazil?
A
Past the obvious reference to Casablanca, there are two scenes which
are familiar to film buffs. The first is the opening dolly shot of the
clerk's pool at the Department of Records, intended as homage to
Stanley Kubrick, who used a similar dolly shot in Paths of Glory.
An even more striking similarity is during the scene where Lowry and
Tuttle escape from Information Retrieval. The actions of the soldiers
in this scene, marching mechanically in time and lowering their rifles,
mirrors shot-for-shot a famous scene in BATTLESHIP POTEMKIN. The scene
in the Russian classic takes place on the steps of Odessa, portraying
a glimpse of the Russian revolution. In POTEMKIN, we have a baby
carriage rolling down the stairs in the midst of battle, while in
Brazil, we have a floor polisher going down the stairs -- the operator,
like the mother in POTEMKIN, is shot in a similar fashion
This famous scene is also alluded to in THE UNTOUCHABLES, during the
famous train station stand-off, and was re-drawn for Stick Figure Theatre
on MTV's Liquid Television. Zbigniew Rybczynski's short film
STEPS is all about what happens when modern day tourists get to walk
around in this famous film sequence. Many other films have used
referenced POTEMKIN, as well.
Q Why does Mrs. Terrain disintegrate over the course of the film?
A Mrs Terrain reveals in the restaurant bombing sequence that she is seeing Mr. Chapman for cosmetic surgery, also known as "the acid man". From the gelatinous, bony mess found in her coffin, we can assume the acid treatment was ultimately unsuccessful. Gilliam, on the Criterion collection set in his commentary, mentions that his father had used an "acid man" to treat a growth on his ear... and that the acid ate through his father's entire ear!
Q Are any of the character's names significant?
A
Mr Kurtzmann (German for `short man') stands for small in stature and
success. Named after the editor of Help (Harvey Kurtzman), a
magazine that Gilliam worked for in the mid-60s. It was at a photo
shoot for this magazine that Gilliam met John Cleese, who would later
invite him to join the Monty Python team.
Mr Warrenn works in a rabbit-warren style place: a maze of corridors.
Dr. Chapman, "the acid man" responsible for Mrs. Terrain's
deteriorating condition, may be an allusion to fellow Pythoner
Graham Chapman, who studied as a doctor.
Q What is the tool that Jack Lint uses during Sam's interrogation?
A It is a device used to perform a frontal lobotomy. It is inserted through the nose and then pushed up to sever the frontal lobe. It can be assumed through the context of the film that Sam has been lobotomized by the end of the film.
Q What is the gift Sam keeps getting and giving?
A An executive decision maker, a novelty gift in the Spencer's Gifts vain: it has a plunger that can fall to one side of a divider, landing on "YES" or "NO". The toy is of no value in the film...commentary on the knee-jerk giving of useless gifts at Christmastime, and the commercialization of the holiday. The gift in real life was more expensive...it cost 2000 dollars to design and make for the film.
Q What does "'ere I am, J.H." mean?
A It's obviously an anagram of "Jeremiah". However, the phrase is slightly puzzling: Jeremiah (the anagram of "EREIAMJH") was Sam Lowry's late father, so we can assume his initials were J.L. Helpmann's initials, seen earlier in the tag on a present, are G.H. (for Gene Helpmann). So, who's J.H.?
Q
How were the flying sequences filmed?
A "We used either close ups of Jonathan....and the rest of the shots were done on this model. This thing was so good we were able to come in very close on it and still fool the camera. This whole thing was connected by wires to a battery that was then run on a huge track. To make it look like the size of a human being you've gotta slow the thing down so we shot it at 4 or 5 times normal speed and the operator trying to follow this thing was in a terrible state. We'd set this whole thing up and the clouds would get going and we'd shout "Action!" and it would go Wham! and then this thing would fly through the air "Berrrrrap!" and that was it and it would take us another hour to set it up again. By the end of the day you wouldn't know what you'd achieved, but come the next morning, you saw the rushes and the film slowed down to the right speed...it's fantastic, you saw this incredibly graceful, soaring, sweeping figure. That's what we ended up with on film."
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Brazil FAQ Copyright © 1994 - 1998 David S. Cowen.