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Hijazifar wanted “Ashura” to be different / The war scenes we didn’t see – Mehr News Agency | Iran and world’s news

Iman Kermian, the special effects designer of the “Ashura” series, told Mehr reporter about the collaboration with Hadi Hejazifar, the director of this series: I have been friends with Hadi Hejazifar for many years, but this work is considered serious. the most His film and series were a different experience and he acted very differently as a director.

He, who has received a Crystal Simorgh for the movie version of this series “Mahdi Situation”, explained about this collaboration: I had worked with Hadi Hejazifar before and of course I had seen his direction in the theater and in TV programs and I knew that he is a person. It is creative and can be successful.

The field special effects designer of the “Ashura” series added: Hadi Hejazifar’s view of war was different from all the directors I had worked with so far, especially since he, like me, was around 10 or 12 years old during the imposed war and still He was a teenager. However, his different look was interesting to me. From the first day, he emphasized that he wants to produce a film that is different from all the films that have been made about war and holy defense.

Referring to Hijazifar’s direction in this series, he said: With Hijazifar’s point of view, all parts went differently, even the filming in this series is different. which are filmed in this way and we see that the work is similar to martyr documentaries Avini has approached

After filming, sometimes the explosion was repeated to reach its ideal

Referring to Hijazifar’s strictness during the work, Kermian stated: We would talk to each other, close the frame and start, but then when the filming was done, Hijazifar believed that the intended scene was not included. It was not like he was easily satisfied, there were many times when we had filmed sequences and plans and then when we would see and review them, he would change the mise-en-scène and some explosions and events related to field special effects would be repeated so that finally he could to reach his mental ideal.

He explained about the difference between this collaboration and other war films: One of the differences in the cinematic part was that the explosion did not occur in the frame and sometimes it was outside the frame, of course, this was mostly done for the cinematic version, and Hijazi Far looked for the effects of the explosion, i.e. the sound. Or the soil that rose up after the explosion was in the frame itself. For example, I would create several explosions in the scene, but only 2 or 3 of them would be visible, and then I would realize that I wanted more of the effect of the explosions in the frame.

Scenes that have not been seen before in movies and series ID

Kermian said about the intense explosion scenes in this series: In 2 episodes of the series, you will see explosions that you have never seen before in any movie or series. For example, we have a sequence of a huge war, in which the camera is on the hand and rotates 360 degrees, and explosions and various events occur. Maybe similar to this plan only in the movie “Tengeh Abu GharibIt has been seen from Bahram Tavakoli that the camera rotates 360 degrees in the location.

Hijazifar wanted

The field special effects designer of the “Ashura” series said about his other challenges in this series: I had many challenges in this project because I wanted all the details of the field special effects to be checked correctly, the explosions to happen at the moment and not a moment late or early.

Kermian reminded himself about the important event of this film: Another important challenge of this film for me was that I was able to test myself once again. I participated in a war and I have received awards for 5 films out of this number, but this film was a benchmark for me once again.

I had 9 assistants in the “Ashura” series

He said about the difficulty of making this project: I had 9 assistants in this series, and I can also say that I used the most explosives in recent years and in the films I worked on in this film alone. I think that the works I worked on are more than 70 films, serials, telefilms, etc., but compared to them, the workload in this project was very heavy. Maybe all the plans that Dushka Shoots arrows homework and maybe only 2 to 3 shots of that visual effect be I can say that we used war tools as much as 10 films. One of the shots that took a lot of effort and I like it very much is the shot of Hamid Bakri’s martyrdom where the barrel of the tank turns and shoots. The camera is on hand and the plan is taken in the field.

Hijazifar wanted

Referring to the time compression, he said: sometimes the time compression was so high that two teams were preparing the scene at the same time and one team was working, which means we did not have independent time to prepare the scene.

Kermian about why he didn’t make the shots and explosions more with special effects and were done realistically. areHe said: We wanted to Act The actors and mood of the scene should be real. The movement that RPG or Dushka It gives people a real feeling and an artificial atmosphere cannot create that state. The actors themselves always request to use arrows and war tools that suit their mood Act Dignity Help them feel better.

“Ashura” is successful because Hijazi Far fought for it all

The field special effects designer of “Ashura” series clarified about the correct use of special effects: In the world, movies like “Star Wars” are made with visuals. effect made and then saw that the believability of these films has decreased, but today’s cinema has reached the point that it should combine field and visual special effects, and it is this combination that works, not that the work is completely field or only special effects. be used visually. However, we still don’t have many possibilities for field special effects.

Stating that in many cases there are not enough facilities for field special effects, he said: Hadi Hejazifar knew the importance of the facilities we had and if there was a shortage, he would have fought for it. I think the film is successful because its director fought for all parts of it. If, for example, I couldn’t implement my idea completely, he would say don’t come on stage, if you are on stage, you should be able to perform, and he was right, that is, it doesn’t matter to the audience how many possibilities we have, because he wants to see the right output.

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