Everyone on the project is giving their maximum effort
No coração de São Paulo, a Globo apresenta 'Quem Ama Cuida' como uma declaração de intenções: a telenovela brasileira, forma narrativa tão antiga quanto a própria televisão do país, aspira agora a um palco verdadeiramente global. Com enchentes construídas em piscinas olímpicas e elenco de primeira linha reunido no horário nobre, a produção não apenas conta uma história — ela reivindica um lugar na conversa internacional sobre o que a ficção televisiva pode ser. É o momento em que um gênero popular se olha no espelho e decide que sempre mereceu mais.
- A produção enfrentou o desafio técnico de recriar uma enchente devastadora, dividindo as filmagens entre as ruas reais de São Paulo e uma piscina de canoagem no Parque Deodoro, onde casas foram reproduzidas e submersas.
- O horário das 21h na Globo funciona como um termômetro de ambição: cada departamento — elenco, figurino, cenografia — opera no limite máximo de seus recursos e capacidade.
- A diretora artística Amora Mautner posiciona a série dentro de uma virada cultural global, em que o melodrama — antes visto como gênero menor — ganha prestígio internacional impulsionado pelo sucesso das produções coreanas.
- Tony Ramos articula a fórmula clássica da telenovela — amor, paixão e suspense — e defende que o formato vivo, que evolui enquanto é exibido, é justamente o que mantém atores e público igualmente engajados.
- O projeto mira uma audiência além das fronteiras brasileiras, apostando que o melodrama bem executado, com recursos e talento, tem apelo universal comprovado.
Na coletiva de imprensa de 'Quem Ama Cuida', elenco e equipe da Globo fizeram uma promessa coletiva: esta seria uma telenovela à altura de qualquer produção de prestígio no mundo. O horário das 21h, explicou a produção, é o padrão ouro da emissora — o momento em que orçamentos crescem e a ambição os acompanha.
O coração técnico da trama, ao menos em seus primeiros capítulos, é uma enchente de grande escala. A equipe dividiu o trabalho: uma semana nas ruas de São Paulo para capturar a geografia real da cidade, e as cenas aquáticas propriamente ditas filmadas em uma piscina de canoagem no Parque Deodoro, onde réplicas de casas foram construídas e submersas. Isabel Ribeiro descreveu a sequência como um teste real para todos os departamentos — difícil, exigente, mas visível em cada quadro entregue.
A diretora artística Amora Mautner situou o projeto em um momento cultural mais amplo: o melodrama vive uma renascença global. As produções coreanas provaram ao mundo o que o Brasil já sabia há décadas. Os roteiristas Walcyr Carrasco e Claudia Soto trabalham com personagens e situações arquetípicas — os blocos fundamentais do gênero — mas Mautner foi enfática: no fim, o que faz a diferença são os atores, aquilo que cada um traz e que não pode ser fabricado.
Tony Ramos resumiu a essência da telenovela no que chamou de 'triângulo do sucesso': amor, paixão e suspense — com comédia como bônus. Para ele, o formato tem uma vitalidade única: é uma obra viva, que evolui enquanto é exibida, mantendo atores e público em movimento constante. E com o mundo finalmente prestando atenção no gênero, 'Quem Ama Cuida' chega na hora certa.
At a press conference for Globo's upcoming prime-time telenovela "Quem Ama Cuida," the production team and cast made a unified pitch: this would be television of the highest order, a melodrama built to compete with prestige productions anywhere in the world. The 9 p.m. slot at Brazil's largest network carries weight—it is, as one producer would later describe it, the house's gold standard, the time slot where everything is elevated, where budgets expand and ambition follows.
The centerpiece of the story, at least in its opening chapters, is a flood. Mauricio Quaresma, a member of the production team, explained the scale of the undertaking. Sequences of this magnitude typically demand location shooting in the real world, but here the production had split the work. They spent a week filming on the streets of São Paulo proper, capturing the actors and the city's actual geography. The flood itself, however, was constructed elsewhere—in a canoe training pool at Parque Deodoro, where the team had replicated the architecture of small-town homes and submerged them in water. It was a controlled spectacle, built from the ground up to look like catastrophe.
Isabel Ribeiro, also part of the production hierarchy, spoke about what it means to work at this level of Brazilian television. The 9 p.m. slot demands everything: top-tier casting, a crew operating at maximum capacity, production design that does not cut corners. She described the flood sequence as a trial that tested every department—the difficulty was real, the coordination immense. But the payoff, she insisted, was visible in every frame: the sets, the costumes, the overall visual delivery. Everyone on the project, she said, was giving their maximum effort because this is where the network puts its best resources.
Amora Mautner, the artistic director, framed the project within a larger cultural moment. Melodrama, she noted, is experiencing a renaissance globally. Prestige productions in other countries are embracing the form and winning international recognition for it. The writers—Walcyr Carrasco and Claudia Soto—work with archetypal characters and situations, the building blocks of melodrama, which allows the genre to function at scale. The show has been constructed with what Mautner called the essential ingredients: narrative hooks, emotional peaks, and humor. But beyond the script and direction, she emphasized, the difference comes down to the actors themselves—their talent, their individuality, the thing they bring that cannot be manufactured.
Tony Ramos, one of the leads, echoed this sentiment. He spoke of the "triangle of success" in telenovelas: love, passion, and suspense. This production, he said, has all three, plus comedy. He described the appeal of working in the form as rooted in its openness—a telenovela is a living work, something that evolves as it airs, something that keeps an actor engaged and stimulated. He also noted that other countries have recognized the power of the form. Korean dramas, he pointed out, have become a global phenomenon, validating what Brazilian television has known for decades: that melodrama, when executed with skill and resources, can reach audiences everywhere.
Citas Notables
The flood reached a maximum level of difficulty for all teams, but the sets, costumes, and overall delivery are fantastic.— Isabel Ribeiro, production team
When you have the triangle of success—love, passion, and suspense—it tends to work. We have all of that, plus humor.— Tony Ramos, cast
La Conversación del Hearth Otra perspectiva de la historia
Why invest so heavily in a single flood sequence? Why not spread that budget across the whole season?
Because the flood is the story's hinge. It's what displaces everyone, what forces the characters into proximity and conflict. It has to feel real, has to feel catastrophic, or the emotional weight of everything that follows collapses.
But you filmed it in a swimming pool. How does that create authenticity?
The authenticity isn't in the location—it's in the detail. They replicated actual houses, actual architecture. The water, the scale, the way light hits it. On screen, the viewer doesn't know where it was shot. They only know what they see.
The producers kept saying this is "gold" for the network. What does that actually mean?
It means resources. It means the best writers, the best actors, the biggest crew. It means no one is cutting corners because this is where Globo stakes its reputation at prime time.
Is melodrama really making a comeback, or is that just what they tell the press?
Both. It's real—Korean dramas proved it. But the producers are also reading the moment correctly. Audiences want emotion, want stakes, want characters who feel something deeply. Melodrama delivers that.
What's the risk here?
That the spectacle overwhelms the story. That the flood is so impressive people forget why they should care about the people in it. The actors have to carry that weight.