Is the TV audience more or the home show network?

According to Fars news agency, the press conference of “Gildacht” series, directed by Majid Esmaili and produced by Mohammad Reza Shafiei, was held today, Monday, the 8th of Khordad, at the General Directorate of Broadcasting Public Relations.

Majid Asodegan, the author of the series, said: I heard people say that we haven’t watched TV for a long time and they saw this. Of course, the first part is weak and I hope that great and attractive series will be made for people to see them.

He also said about the story: His plot was written in Mehr 92. Our goal was to tell stories. We had a research team. Another point was that we wanted to have an Elizabethan drama, and I think that this part, i.e. color and glaze, has also been noticed by the audience. When we read that period of time, women have made a lot of progress. I had no other choice here and had to go to such a progressive woman.

Reza Akbarpour, the actor of the series, said in a short speech: “Participating in this series was an acting university for me.”

Mitra Rafi, the main actor of the series, said about this series: The authors and creators of Gildekht trusted young and unknown actors. We were checked and we were not denied by these loved ones. It is good not to deny the youth. It is courage to take risks and trust.

* The most watched series of home shows can have four or five million viewers

In response to a journalist’s question about why there is less talk about a series that has been worked on for several years in the media and virtual environment, Mohammad Reza Shafiei said: There is a media pan when a work is broadcast on TV, a kind of guard against It is formed

He continued: Some of the country’s media streams do not look at the work of art. The most watched series of home shows can have four or five million viewers, but the statistics that the organization gives us means that this same series had about 35 to 40 million viewers.

Shafi’i stated: We care about the public audience for the series we make, sometimes we fall short of our artistic desire for the benefit of the people. I had a series of gaps years ago and maybe I didn’t like some of the main characters, but I saw that people liked the same characters.

This producer reminded: We are now at war in the full media sense. The media war is largely about the family center. We have no objection to serials that are made partly inside and partly abroad and question some of our humane and Iranian principles. We are obliged to make a series that is both attractive and based on our faith and religious origin.

* It is difficult to work within the framework

He added: Some friends use whatever they want, but they are not seen. But it is difficult to work in the “framework” and make films and series and do it by looking at the concepts that we believe. The intellectual and media flow in that sense is definitely not our origin and we do not need that flow.

Shafiei said about the weekly broadcasting model of the series and whether it helped it to be seen better or not: The first time I heard about this weekly model from Mr. Jabali, I was worried. My request was that it should not be limited to Fridays only, and I wanted it to be twice, which was accepted. After “Mokhtarnameh” and “Youssef Prophet” this model of serial broadcasting was not used for many years, but my concern was resolved after a few weeks. People find and watch good series. Whether it is on TV or in other media streams, they see it.

Majid Asodegan, the author of the series, stated how much he considers the criticisms of the series to be true: I myself have some criticisms even though I was present in the project, but I saw it with different people and I have criticisms as well. Regarding the length, I agree that the rhythm fell in some places, but this is normal in all long series. Some were due to me and some were due to implementation problems. Now, after sixty episodes, there were no big mistakes to analyze. The figure of 35 million given by Mr. Shafii is very high and I think it is a good thing.

Director Majid Esmaili also said: I don’t agree that the bugs in the story were too big. We have 46 episodes of the script, and it turned into 60 episodes in the broadcast, on the other hand, it turned into a flaw. Really, in the rain and hardships we had in five hundred sessions, if there was a weak point, even one scene occurs. The actor playing the role of Ismail once fell from a horse and injured his back. We didn’t have one of the actors for a while after he fell off the horse, and maybe that caused some changes in the story.

He added: I am not saying that Gildekht has no problems, but I am saying that no one left anything short for the series. We were working during the Corona period. Maybe we stopped working for 45 days. We had a terrible fire that lost part of our location. We are aware of the criticisms, but we gave our all. We used very few stunts. Gulnar himself rides a horse to the throne.

Asoudegan further said about the ten-year period of writing the series: In 1993-1995, the initial version of the script was written during Mr. Sarafraz’s tenure, and then he went to the screenwriting development center, but this center was dissolved. Due to the high cost of the series, the project was stopped for two years, and finally, in 1997, we had negotiations with Mr. Shafiei, and we decided to rewrite it, and the team was added in early 1998.

Shafiei also said about the production of series in the overseas department: The overseas deputy of Sima has a film and series center that also has productions. At Gil Dekht, we have lessons from history to clothes and all that is attractive to the world. The attraction of tourism in the world is based on beautiful architecture, forests and frames, etc., and we also had these points in the series.

Asodegan said about the reason for making several series in the Qajar period: There are various reasons, but maybe it is because Qajar is not so far that we don’t have anything from photos, clothes, and even location, and it is not so close that it is repetitive.

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