Kamal Tabrizi: In cinema, if you think you know everything, you have lost!

According to Fars news agency, the workshop on the transfer of Kamal Tabrizi’s directorial experience was held at the cinema museum on the evening of Wednesday, December 1, at the same time as the second day of the second festival of film schools.
At the beginning of this workshop, Kamal Tabrizi, an experienced director of Iranian cinema, said, referring to the origin of cinema in the West: This is our biggest problem that cinema was introduced to us from the beginning as an entertainment that creates fame, money, etc. Cinema has been a western industry since the beginning, but in our country, it was not formed with science and awareness, rather it was introduced as a matter of entertainment. It is not right to look at it only as a recreational phenomenon.

* Cinema is destroyed without thinking
Referring to the influence of Iranian cinema on the international level, the director of “Shida” said: This influence is a cross-sectional issue. Neither the society nor the system wants the cinema to have this thinking and influencing aspect, and when the thinking aspect is taken away from it, it remains only an entertainment aspect. By the way, its way of thinking is slowly being forgotten. At a point that wasn’t very long, we had a golden period, but from another point, it was the actors who became decisive because the producers were looking for return of investment and profit. I have no objection to a funny movie being made and seen because I like to watch a comedy movie sometimes to give my brain a break, but if Iranian cinema is supposed to have only such productions and there is no room for thought and thought, it will go towards destruction. went

* We never thought about the financial income of the film
The director of “Lizard” stated: At that time, when we wanted to start making a film, we didn’t think about its financial gain at all, but first we thought about what we wanted to make; We thought about what society wants from us. Today, there are many people in different fields of cinema who talk about salary first. In the same way, the parts and fields related to thinking are removed from the cinema and its monstrous side is revealed, which seeks wealth and power. While this issue is in contradiction with the definition of art.
While warning about the abundance of comedy films, Tabrizi said: Unfortunately, cinema officials and even our critics have lost their way, they think we are leading the way and keep giving statistics. So we need a renaissance in the field of art, especially cinema, and we must wake up from this rabbit sleep.

* Three people influenced my artistic activity
Referring to those who have influenced his life, he said: Three people had a great influence on my artistic activity, and if they weren’t there, maybe I would have become a cook. One was a math teacher in my high school days, who happened to hate math. The second one in the university, Mr. Dr. Alami, had a great impact on me because of his teaching model, so that my courage in work goes back to him. The third person was Nader Ebrahimi. In his class, Hatamikia, me, Rasul Malaqlipour and many others who later became the source of the work were present.
This director continued: “I still feel trembling when I want to make a movie.” So, if you think you know everything, you have lost. In cinema, nothing is certain. The field of education in cinema is outside the field of acquired sciences and most of it is face-to-face science, which means that you must develop intuition and discovery. Before the revolution, we didn’t have much in the name of director and director’s authorship, because the actor would go on stage and say what to shoot or what not to shoot, what dialogue to say or what dialogue not to say, because Farsi films were the dominant stream of cinema.
Tabrizi said about the interaction between the production staff of a film and the director: collective work needs a captain, filmmaking must have a supervisor and the supervisor of the film is the director. He was not satisfied, you are no longer responsible because the director of a work is ultimately responsible for it. Of course, the director cannot perform miracles in different aspects of the film, but he can be effective.
In the end, Tabrizi said about the role of the production manager: His role is very complicated, but it is underestimated in our cinema. He is in charge of psychological management and project costs.

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