Before the recording began, the telenovela cast and crew attended lectures with anthropologist Giovani José da Silva and Carlos Eduardo Sarmento, professor at the Getulio Vargas Foundation, respectively on indigenous culture and socioeconomic, cultural and political customs of the 1940s. In addition, the anthropologist gave indigenous language classes to Priscila Fantin, André Gonçalves, Francisco Carvalho, Maria Silvia, Julia Lemmertz and Thaíssa Ribeiro. These actors also had the guidance of prosody researcher Íris Gomes da Costa. Fernanda Souza, Emilio Orciollo Netto and Emiliano Queiroz took classes in redneck prosody with Silvia Nobre. Marcelo Barros gained notions of northeastern prosody. Liliana Castro took piano lessons from Claudia Castelo Branco and learned ballet steps from Cissa Rondinelli. Eduardo Moscovis went to Roselândia, in Cotia, São Paulo, to know the techniques of grafting and planting roses – on site there are over 300 species of rose bushes. Malvino Salvador trained in São Paulo restaurants the handling of culinary utensils and the manufacture of bread. To give life to villain Cristina, actress Flávia Alessandra watched horror, suspense, obsession and madness movies, looking for inspiration to compose the various stages of the character. The actress also dispensed with body double in the most difficult scenes. Alexandre Barillari visited Ary Franco Prison (Portuguese: Presídio Ary Franco) in Rio de Janeiro, where he talked with detainees to help with the composition of the villain Guto.