Marjorie Gerardi has new demanding roles after having lived three real women: “I mature with them”

Agenda full of work and challenges. The dream of any actor is the reality of Marjorie Gerardi. The year remains intense for the career of the actress and the manufacturer.

In this interview, he comments roles that guide his artistic evolution and reveal new characters coming. It also speaks of the use of artificial intelligence to replace the actors.

The year 2025 is full of work, with two pieces and three films, and famous two career decades. What do these numbers represent?

Feel, it is very crazy to think that 20 years have passed, because in my heart it seems that I started yesterday. Always learn and things are changing. But at the same time, when I look back and see how much history, characters, meetings … it is a trajectory that fills me with gratitude. This particular year is a celebration of what I love to do. Having two pieces and three films in the same year is not just a work volume, but it is a question of delivery, search and connection intensity. I feel blessed.

You have already represented three real women: Noely (in the series “The adventures of José and Durval”), Cidinha (in the film “Silvio”) and Tarsila do Amaral (in the series “Those days”). What is the difference in composing real and imaginary characters?

The interpretation of real people generates great responsibility because you are dealing with emotional memories, bequests, stories that really existed. In the case of novelty, I had the privilege of having many sources of research. Due to her children, Sandy and Junior, she participated in many TV programs and gave many interviews. I had access to his chat with the writers, recorded, telling the trajectory of his life, as the relationship with music, theater and circus started, the love story with Durval (Xororó), on children and more.

Does a real living character make responsibility even bigger?

Yes, but when I met noble personally, at the end of the entire process, I understood the sweetness, strength and power of that woman. All to do with my action choices. I was at peace.

What about Silvio Santos’ first wife?

Already to make Cidinha, I made an extraordinary chat with Cintia Abravanel, who is his first daughter with Silvio Santos. I had the pleasure of understanding Cidinha’s emotional trajectory. I discovered the musical taste, the gutters, the weaknesses, the strength, as everything started, where it came from, as was his love and his neco (affectionate nickname of Silvio). Cintia was essential for me to be able to do Cidinha.

And to interpret Tarsila?

I did a great research on books, focusing on his artistic choices. There is a lot of material on the modern artistic week of 1922 and its exponents. I had the pleasure of meeting his nephew, Tarsililha, who found me in a coffee and took me all my doubts. He told the details that I didn’t know. Has enriched my research.

Recitrai on the show “closer” (on display until 27 July at the Vivo Theater of San Paolo), based on the great film. Play the role of Julia Roberts. How was your preparation?

Ah, “closer” is a gift. I love this text. It is brutally intense, honest and interrogation on human relationships. The character Anna has very complex layers. The preparation was crazy! It is a relationship of relationship, so we have subtleties and intensity. By combining this with instinct, selfishness, being a survivor, even more technical things such as the notions of photography, the profession of the character. Speaking of the inevitable comparison with Julia Roberts, I admire her so much, but I don’t cling to her choices. I found my Anna with my truth, in my own way.

In addition to being an actress, you are the creator of the show and you are in production. What is the importance of acting on other fronts in the arts?

I really believe in artistic autonomy. When I idealize and produce, you have the opportunity to choose what you mean for the world – and it is very powerful. It is difficult, of course, has bureaucracy, budget, pressure … but there is also freedom and belonging. Today, more than ever, I want to be behind the scenes as much as on the stage. This completes me.

In the second half, two films debut, “by a Thread” and “Barretos Pawn Party, The Movie”, in the latter the protagonist will be. How is it playing the main role in cinema for the first time?

A great challenge. The protagonism is not only more time on the scene, but is supporting an emotionally whole story. In “Barretos Pawn Party, The Movie”, Rafael Cardoso and I live a novel full of songs and adventures. My character, Ana Amelia, is a simple girl, full of personality, who lives with her father on a farm and has the dream of succeeding as a singer. I had to go through an intense routine of songs, guitar and driving lessons. Already in “by a thread”, I do Marina, (first) wife of Dr. Drauzio Varella. He accompanies her husband, who made the decision to take care of her brother with cancer, Fernando and the heavy phases he will have to face. The film reflects on the impact of death on patients’ behavior and their families. I am not a protagonist, but the intensity of delivery is the same. I try to play my role for history well to reach the spectators. I deal with these characters as a milestone stones of maturation. I see myself ready and at the same time learn. It is a beautiful paradox.

As an entrepreneur, help your family in the administration of colleges of Cotia and Itapevi. How is this commercial side?

Yes, it’s a side that few people know. I grew up in this education environment, since my mother and father have always been involved in teaching. Being there, helping to think of strategies and new projects is very transformative. I think of the impact of long -term culture and knowledge. This is also acting, only in another sphere.

Do you prefer to do the soap opera or, like many colleagues, the shortest work, like streaming series?

I have no prejudices with any format. I think it all depends on history. I did soap opera, cinema, theater and series. If it is a soap opera with a plot that touches me, with a stimulating character, I go with everything. But yes, the time of the series, the language of streaming, seduces me a lot. There is something rhythm, focus, which attracts me. In the end, what I really want is to tell good stories, in 9 episodes or 200 chapters.

Do you use some artificial intelligence in your work?

Directly, not yet. But I have already participated in the productions in which the IA was used in the pole, in audio cleaning, in the reconstruction of the items, in the Voiceover. And I’m curious. I think the IA can be an ally if used with ethics and emotional intelligence. We are still learning to face it.

There are already projects that replace real actors with digital creations. What do you think?

I am in love with the human. For failure, the pause, the aspect that trembles. And I think no digital creation will really have this. It could have a technique, but has no soul. So I think the IA can help, but to replace? No. Art needs human contact, vulnerability. This is what connects us.

Source: Terra