Actress faces crying, ‘memory test’ and marathon for the end of Salve-se Quem Puder

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Flávia Alessandra confesses that she has finished recording Salve-se Quem Puder as if she had run a marathon. The scene in which Helena discovers that Fiona (Juliana Paiva) is her daughter Luna was one of the most strenuous – not only for her physical fitness, but also for testing the actress’ memory.

“I had to decorate eight pages of text, and we will have a lot of tears ahead, if God wants. The scene written by itself was beautiful, we were committed to overcoming what was on paper. It was two days of recording, without tell the period of isolation and the Covid-19 tests, why Juliana and I had to be together, glued “, she evaluates to the TV News.

Daniel Ortiz’s booklet has already revealed that Téo’s stepmother (Felipe Simas) is not a villain but a victim of Hugo (Leopoldo Pacheco). The millionaire made the woman believe that the heiress and ex-husband Mário (Murilo Rosa) died in Mexico because of their mistakes.

Not for nothing, the owner of Empório Delícia feels completely uncomfortable in the face of Juliana Paiva’s character, as if a ghost from the past came back to torment her. “It was a kind of chess game, in which we needed to restrain ourselves from the public not knowing exactly what that nuisance was,” he explains.

She warns that the audience will not be able to sleep on the spot or miss any chapter of the second season, as they will miss crucial details about Helena’s life and mysteries. “Each scene delivers something [importante], there is no pause to breathe. The feeling I have is that of revelation after revelation “, says the Fluminense.

Helena and Luna in Save Yourself

Insulation booth

With 32 years in the Globe, Flávia confides that she is still impacted when she remembers the day she came to record and saw Estúdios Globo, in Rio de Janeiro, completely deserted. “There I realized that the world really stopped [por causa da pandemia] and I started to live a moment of solitude “, he ponders.

For the first time, the artist found herself unable to get close to the castmates behind the scenes, as each had their own “corner” due to security protocols. “I had never opted for a dressing room just for me, not even when they offered me to be the protagonist of a soap opera,” says she, who even saw the dynamics in front of the cameras change.

The cores did not cross, and the cast took turns every week. There was no longer that mixture, we never ran into the corridors again. It was total isolation. There were people I never ran into again. It gave a certain strangeness.

Flávia believes, however, that the experience was worth it. “We were able to do something and deliver it to viewers [no meio da crise sanitária]. The product is too beautiful, the chapters are dynamic, cohesive, so there is a great feeling of satisfaction “, concludes Otaviano Costa’s wife.


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