In 1973, the experience of documenting the studio recording of the bossanova album Elis & Tom with Brazilian director of photography Fernando Duarte was influential in determining his future projects of musical documentaries in Brazil.
Both point to his future aesthetic and thematic inclinations: the immediate rouchian apprehension of reality of direct-cinema and the reconstitution of the historical past.
In 1975, he was one of the first to use portable-video equipment (Portapak - ½ ") in Brazil, filming video-art works by Rio de Janeiro's prominent visual artists, such as Anna Bella Geiger, Paulo Herkenhoff, Fernando Cocchiarale, Sônia Andrade, Ivens Machado, Letícia Parente, Angelo de Aquino, and Miriam Danowski.
Heart Pounding Beat used direct-cinema technique in a fictional comedy language in which two actors (Joel Barcellos and Regina Casé) improvised their dialogues as the real action - a Gilberto Gil tour from north to south of the country – took place.
The sound of the film in Dolby-Stereo, processed in Los Angeles, introduced this vital audio technology for the first time in Brazilian cinema.