At the end, when the producer thought, 'Now we have it all in the can, Wim talked about every picture and now they should be finished,' I realized this was only the beginning. I told the producer, 'I’m sorry, now we have to start from scratch because none of this is good.' Every day that we shot, I realized more and more that only every now and then I had something I was really happy with. Sebastião is a relatively self-conscious person in front of a camera. When he was looking at the photographs, once in a while he got involved and the memories came back, and he concentrated as long as he was looking at the picture. Then he would look up at me, and there was the camera and the sound engineer, and he started to perform. He told the story to me, but he was no longer in the memory. There was a difference to the quality of his stories when he forgot that we were there, but as soon as he remembered we were there, it became stiff. Eventually I thought, I want him to be able to just be like that and never see the cameras and forget that I am there and that I’m asking questions, but I didn’t know if there was a way to do it. And one night I had this idea—put him in a dark room so he doesn’t see anything but his own photographs. Then it dawned on me that the two-way mirror was the solution. The two-way mirror that you can project something onto as a teleprompter.