Asgarpour: I did not want to become a member of parliament after the cinema + movie
According to Fars News Agency, quoting the public relations of the Cinema Museum, “Mohammad Mehdi Asgarpour”, a screenwriter, director and producer of Iranian cinema, said that he was born in Tehran on December 23, 1963: “My first income from cinema was when I was 11 years old.” At the library where I was traveling a lot, they said they wanted a number of kids to play in a movie, and I signed up. For 12 days, we were taken to the stage of Mr. Aslani’s film “So Do They Tell a Story”, in which I played the role of an artist and Mehrdad Fakhimi was in charge of filming.
He continued: “The interesting thing was that the director of film production would come inside the bus every day after filming and open his bag and give us all a 50 Rials banknote, which was good money at the time, and I would be 60 for 12 days.” I got a toman.
Asgarpour said about his presence as a secretary in the two periods of Fajr National Festival: It was a good experience for me and helped me to see the side space of cinema in a different way and to understand where close friends may not accompany or friends who even thought We do not know where they helped and this point was interesting to me.
He explained about the script of “Ghadmagah”: “It was one of my best behind the scenes in this film, which formed very good friendly and warm relations with the actors of the film, and the film was very blessed in terms of being seen and screened, and it was seen well.” Babak Hamidian made his acting debut in Ghadmagah, and another feature of the film was the combination of professional and local actors. At the Fajr Film Festival, which was the first festival after my secretary, “Ghadmagah” won four Simorghs, and was nominated for the second best film and nominated in 10 categories. There I became more determined to work more in filmmaking and did not intend to return to the executive branch.
He said that the film “Eqlima” was also a good experience for him, adding that “Eqlima” had a new and enigmatic genre and a good structure. Usually I did not write decoupage in my work, but in this film we even drew a storyboard to take engineered plans. At the Fajr Festival, this film was nominated for the best director, but it was not nominated in any other section. I told the judges that there was definitely music, acting, filming, etc., which led to a good director.
Asgarpour continued: “After” Tropical Flowers “, I was offered many series, and because I had made” Ghadmagah “, I was often offered series that had the concept of expectation. Unfortunately, a significant portion of these scripts did not fit, and I was getting older and more strict.
He said that he was offered the management of the cinema house during the filming of “Tropical Flowers”. “Of course, this was the second time that I was offered the management of the cinema house. The board was disbanded and they wanted to form a dispute resolution committee. At that time, Ahmad Reza Darvish had offered me this proposal on behalf of the committee, which I did not accept because I did not want to enter the performance because the sweets of filmmaking were more attractive to me.
Asgarpour continued: “The second time the management of the cinema house was offered, some friends insisted more, and Reza Mirkarimi, who was the director of the cinema house, played a big role in me accepting this responsibility, which I finally accepted.” Elections were held and in 1987 I became the chairman and CEO of the Cinema House. I remember that in the same year, the living memory of “Khosrow Shakibaei” had passed away and his Shiism had to be managed.
* In the management of the cinema house, the “law of the guild system” was the most important issue for me
Referring to his plans for the cinema house, he said: “I had plans for the cinema house, and my first problem was what the living memory of” Saifullah Dad “was pursuing and failed; Codification of a plan that would later become the law of cinema, that is, the law of the guild system. Drafting a bill to establish a cinema guild system, job security, inviting and attending members of the Academy Awards, all of which were discussed over a period of 6 months.
Asgarpour pointed out: During the seven years I was in the cinema, the drafting of the union system bill was the most important event, and our plan was to eliminate some of the work of the Ministry of Guidance by forming a union system organization – such as the medical system and the engineering system. The trade union system should take on this mission. An intensive work was done on this issue.
Referring to the film “We Have Guests”, he said: “I made this film in 1992, when the government of Mr. Ahmadinejad ended, and after that I worked on two other series.” One of the advantages of the 4 years of the 10th government conflict for me was that I wrote more and the idea was that if I did not do that, my mind would go to political issues and after the cinema I would probably have to become a member of parliament, so I wrote more projects. Three designs were made.
In response to Massoud Najafi’s question about why your filmmaking work was interrupted after “We Have Guests”, he replied: “Of course, I did production during this period.” Many times I write and capital is prepared or TV is accepted, but I am not satisfied with making it myself, because as people get older, they become stricter. Of course, part of it goes back to the situation in our country. We are a generation that was a little bit involved in the war and the revolution, and there is another perception of us, and we have a series of ideals. We are the children of our time. If we are to be careless when writing a lot of things, what I want will not happen, and in such circumstances, I prefer not to make a film.
Asgarpour also spoke about his management of the Fajr International Film Festival: There were several parameters for accepting the secretary of the Fajr International Film Festival. First of all, my interest in the field of the World Festival, the insistence of Reza Mirkarimi and a number of colleagues in the World Festival, and Hossein Entezami, who we had in the meetings we had with him, made me feel positive and made me accept the secretary of the World Festival. Everyone may be critical of some courses and not take responsibility, it is a time when we think it can not be, but in some courses there may be difficulties but it can be done.
In the end, he said: “If I go back, I will shift my focus from directing more to screenwriting because I like writing more.”
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