{"id":1896,"date":"2026-06-11T12:36:35","date_gmt":"2026-06-11T12:36:35","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=1896"},"modified":"2026-06-11T12:36:35","modified_gmt":"2026-06-11T12:36:35","slug":"paper-tiger-producer-rodrigo-teixeira-on-james-grays-next-about-the-u-s-now-why-u-s-directors-will-shoot-in-brazil-and-how-independent-cinema-has-gone","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=1896","title":{"rendered":"\u2018Paper Tiger\u2019 Producer Rodrigo Teixeira on James Gray\u2019s Next, \u2018About the U.S. Now,\u2019 Why U.S. Directors Will Shoot in Brazil and How Independent Cinema Has Gone Global"},"content":{"rendered":"
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\nRodrigo Teixeira, producer of 2025 Oscar winner \u201cI\u2019m Not There\u201d and James Gray\u2019s 2026 Cannes contender \u201cPaper Tiger,\u201d are in development on their fourth film together, to be made in 2027.<\/p>\n

Read more \u2018Slow Horses\u2019 Season 6 Sets Fall Release Date, First Glimpse of Lenny Rush Alongside Slough House Team<\/a><\/p>\n

\n\t\u201cIt talks about the U.S. now, not the best moment they have, with probably the worst President in the world,\u201d Teixeira advanced at a masterclass delivered Wednesday at Madrid\u2019s ECAM Forum international co-production market.\u00a0<\/p>\n

\n\t\u201cIt\u2019s a very difficult time for the U.S. But also, I think it\u2019s a great opportunity because terrible times are a good time to do art.<\/p>\n

\n\tIt\u2019s difficult to do that in the United States, because people who finance [films] are aligned in some way with this government money. Directors will need to do films outside the U.S,\u201d Teixeira\u00a0 added. \u201cAmerican directors will be coming to Brazil to make films in Brazil, The same way they help us, we need to help them. No independent cinema is self-sufficient in any country in the world, not in the U.S. nor any country.<\/p>\n

\n\tThat in fact is already happening. A special guest of Madrid\u2019s ECAM Forum, Teixeira has just wrapped Michael Almereyda\u2019s Don DeLillo adaptation, \u201cZero K.\u201d It turns on a tech billionaire (Peter Sarsgaard) preparing his young but dying wife (Inga Ibsdotter Lilleaas) for cryonic preservation in a cutting-edge medical facility. Caleb Landry Jones plays the billionaire\u2019s son, battling to build a relationship with his partner (Britt Lower, \u201cSeverance\u201d) and her son.\u00a0<\/p>\n

\n\t\u201cZero K\u2019s\u201d key cast is predominately American and international. Wrapping June 6, \u201cZero K\u201d was shot entirely, however, in S\u00e3o Paulo, Teixeira\u2019s home city and base of his production label, RT Features.\u00a0<\/p>\n

\n\t\u201cShooting an American or a French or a Belgian or a Spanish film in Brazil, I can provide great production value for less money, because we have terrific technicians. Brazilian films are at their peak. We are making great cinema. Brazil\u2019s technicians are film buffs: They are great artists,\u201d Teixeira told Variety<\/em>.<\/p>\n

\n\tTeixeira\u2019s ECAM Forum talk comes at a special time for himself and his company. RT Features, which is turning 20. Teixeira will be 50 this December. So he used the talk to reflect on his past, the world\u2019s present and where the global film industry is going.<\/p>\n

\n\t\u201cGrounded science-fiction,\u201d said Teixeira, and also written by Almereyda, an Alfred P. Sloan Feature Film Sundance winner for \u201cMarjorie Prime\u201d (2017) and \u201cTesla\u201d (2020), \u201cZero K.\u201d is produced by RT Features, Keep Your Head, and Oak Street Pictures.\u00a0<\/p>\n

\n\tIt also forms part of a bigger industry picture. \u201cPeter Sarsgaard and Caleb Landry Jones are American, Inga Ibsdotter Lilleaas Norwegian, Selton Mello Brazilian and G\u00e9za R\u00f6hrig Hungarian, the director and DP American, the production and costume designer Brazilian,\u201d Teixeira said. \u201cThe film underscores a brand new mix with Brazil and you have this new blend in any country and that\u2019s a beautiful blend,\u201d he added.<\/p>\n

\n\t\u201cWe are much more globalized now. What\u2019s happening with the world is a movement, a geopolitical movement. The landscape of cinema is much more international than Hollywood right now. Hollywood now is much more streaming and blockbusters and independent cinema is international,\u201d Teixeira told Variety<\/em>. \u201cSo independent film production will feature either collaborations between the U.S. and countries, or countries alone by themselves,\u201d he told Variety<\/em>. \u201cOriginal projects, even American ones, are all together in this worldwide place. The first time you see this is at festivals, and after that, you go to crazy award seasons where you need to travel like a rock band, going to all places, trying to convince people to stay in your side in the end of the day.\u201d<\/p>\n

\n\tTeixeira should know. Launching RT Features in 2006, few producers anywhere outside the U.S. have lifted off by consistently backing icons of U.S. independent cinema.<\/p>\n

\n\tThe breakthrough, he said in Madrid, came with Noah Baumbach\u2019s \u201cFrancis Ha.\u201d\u00a0<\/p>\n

\n\tTeixeira, a rarity in Latin American cinema, finances his own films. He was offered the chance to put up $500,000 to make \u201cFrancis Ha.\u201d Teixeira loved Baumbach\u2019s films, but hadn\u2019t heard of his partner, then an unknown Greta Gerwig, nor another key cast member called Adam Driver, an ex marine who was going to make a U.S. TV\u00a0 movie. Also the film would be made in black and white.\u00a0<\/p>\n

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\n\tYet Teixeira was already into low-budget filmmaking, after his second feature in Brazil, Hector Dhalia\u2019s \u201cDrained,\u201d an edgy obsession dramedy headed by a young Selton Mello, already a telenovela megastar in Brazil. It made back 10 times Teixeira investment.\u00a0<\/p>\n

\n\t\u201cI thought, O.K., I have something here. I know how to do this. This is easy for me. And I was learning, and Noah Baumbach was for me, a major director at that time,\u201d he recalled. Baumbach showed him a cut on June 12, 2012 \u2013 Teixeira remembers the date. \u201cI saw the film on the screen and I thought, I know I have a success, the same feeling when I first saw \u2018Drained.\u2019\u201d<\/p>\n

\n\tWorld premiered on a big screen at a basketball stadium at the Telluride Festival, the audience response to \u201cFrances Ha\u201d was \u201cunbelievable,\u201d Teixeira said. And Teixeira, who had spent his early career as a film developer, was suddenly recognized in the U.S. as a film producer.\u00a0<\/p>\n

\n\tTeixeira went on finance and produce Kelly Reichardt (\u201cNight Moves,\u201d 2013), Ira Sachs (\u201cLove Is Strange,\u201d 2015; \u201cLittle Men,\u201d 2016), Robert Eggars (\u201cThe Witch, 2015; \u201cThe Lighthouse,\u201d 2019) and Baumbach again (\u201cMistress America,\u201d 2016) while in 2014 launching\u00a0 with Martin Scorsese Sikelia, a film fund for new directors.<\/p>\n

\n\tYet from Luca Guadagnino\u2019s \u201cCall Me By Your Name,\u201d nominated for Best Picture and winner of Best Adapted Screenplay at the 2018 90th Academy Awards, Teixeira has broadened out, making three films with James Gray \u2013 \u201cAd Astra\u201d (2019), \u201cArmageddon Time\u201d (2022) and \u201cPaper Tiger\u201d but also producing Olivier Assayas\u2019 \u201cWasp Network\u201d (2019) Mia Hansen-L\u00f8ve\u2019s \u201cBergman Island,\u201d 2021).\u00a0<\/p>\n

\n\tMost notably, along with VideoFilmes and MACT, he produced Walter Salles\u2019 \u201cI\u2019m Still Here,\u201d the first Brazilian Portuguese-language film by a Brazilian director to be nominated for Best Picture and to win an Academy Award in the International Feature Film category.<\/p>\n

\n\tRT Features\u2019 upcoming slate takes in not only \u201cZero K,\u201d but also \u201cGlaxo,\u201d directed by Argentina\u2019s Benjamin Naishtat and starring Lali Esp\u00f3sito, Esteban Lamothe, Esteban Bigliardi, and Marcelo Subiotto as well as Guatemalan Jayro Bustamante\u2018s upcoming dramatic thriller \u201cRep\u00fablica Luminosa.\u201d Teixeira announced Wednesday with Variety <\/em>just before his masterclass \u201cBodies of Summer,\u201d a new film directed by Argentina\u2019s Iv\u00e1n Fund. RT Features is also in post-production on \u201cWolves,\u201d directed by Rami Kodeih and inspired by the real-life collapse of Lebanon\u2019s banking system in 2019.<\/p>\n

\n\tIn 2025, Teixeira shot eight films, two in Brazil and Romania, and one in the U.S., Chile, Argentina, and Lebanon. In 2026, \u201cI\u2019m doing a film for the first time in Asia in Cambodia and a film from a director from Singapore who is based in New York which we might bring as an American film to shoot in Brazil.\u201d That fits in with one of Teixeira\u2019s missions going forward.\u00a0<\/p>\n

\n\t\u201cI am trying to internationalize Brazilian technicians. As a producer, that\u2019s part of my job, to introduce these technicians to the world. At 50, I\u2019m much more able to do that and much more mature to present these people to other audiences. I love to do that. That\u2019s my new moment. I\u2019d love to be able to do that for a while. If I\u2019m able, I will do that.\u201d<\/p>\n

\n\tTeixeira\u2019s surge into international reflects a sea-change on independent cinema finance and his own personal passions, Teixeira confessed at ECAM Forum. Teixeira loves to travel, literally and metaphorically. He will shoot Bustamante\u2019s \u201cRep\u00fablica Luminosa\u201d because that gels with the issues in the film.\u00a0<\/p>\n

\n\tAlso, \u201cWhy not? I have never been to Guatemala,\u201d he said at ECAM Forum where he talked about how he chooses his projects\u00a0 \u2013 I go with my instinct\u201d \u2013 and his responsibility as a producer \u2013 \u201cto take bullets for directors.\u201d\u00a0<\/p>\n

\n\t\u201cIn the 80s, I was crazy about National Geographic magazines because I could travel reading them,\u201d Teixeira said in Madrid. \u201cNow I travel making films. I\u2019m going to go to Guatemala to make a film. With James Gray I\u2019ve traveled to the moon, Mars, Neptune, Saturn and Uranus. With a film you can go back to the 18th century. That\u2019s what films give to me: I travel in time, space and countries. That\u2019s the best for me. I\u2019m not going to have a better life.\u201d<\/p>\n

Read more Australian Screen Producers Call for Fairness Rules to Counter Streaming Giants\u2019 Market Power<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Once a bastion of U.S.-shot independent cinema, Teixeira filmed eight films last year \u2013 in Brazil, Romania, the U.S., Chile, Argentina and Lebanon.<\/p>\n","protected":false},"author":1,"featured_media":1895,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[1630,275,1631,1632,1633],"class_list":["post-1896","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-benjamin-naishtat","tag-james-gray","tag-jayro-bustamante","tag-rodrigo-teixeira","tag-rt-features"],"yoast_head":"\n\u2018Paper Tiger\u2019 Producer Rodrigo Teixeira on James Gray\u2019s Next, \u2018About the U.S. Now,\u2019 Why U.S. Directors Will Shoot in Brazil and How Independent Cinema Has Gone Global - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=1896\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Paper Tiger\u2019 Producer Rodrigo Teixeira on James Gray\u2019s Next, \u2018About the U.S. Now,\u2019 Why U.S. Directors Will Shoot in Brazil and How Independent Cinema Has Gone Global - 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