Mohammad Ali Bashe Ahangar: Every filmmaker has a unique tone that is like a fingerprint

According to Fars news agency, Mohammad Ali Bashe Ahangar stated that the beginning of the film can be from the part to the whole or from the whole to the part and said: the director decides that the point of view is from the whole to the part or vice versa, but in any way he wants to work, it should be the most obvious. to follow the events and provide complete food for his editor, and this method is formed from the idea, plan and script in the mind of A.
He added: “One of the most important phenomena that is paid less attention to in our cinema is space creation, and the geography of the film is also a part of this space creation.” It should be noted that the connection between geography and the story and its characters is very important. We have to think that we have to visualize this geography and to what extent all these components can affect our work in conveying the concept and story; If we think about these things, we will have a better choice, and if the filmmaker is an author, these things are important to him and he thinks about them in advance.
Referring to the issue of geography in filmmaking, the director of the movie “Queen” said: The geography of a movie must be introduced to the audience, and usually showing this geography once in the movie is enough. Unless he takes the drama one step further in the next times, otherwise it is extra. The introduction of geography is also effective in defining the character and advancing the story, and for this reason, the main burden will be on the shoulders of the type of technical cutting and decoupage and the type of illustration of the filmmaker. In each decoupage, you should introduce the geography well and note that the desired geography is slowly imaged and imprinted in the viewer’s mind. It is safe to say that atmosphere creation is one of the most difficult parts of directing.
By stating that the believability of geography helps the believability of the story, he said: If the director thinks that the details of geography have an effect on the story, he should focus on it and its effect should be seen in the story. Otherwise, those atmospheres will not have a proper effect on the whole story and in other words, it will create a disturbance in the understanding of the story for the viewer. That is why Stanley Kubrick’s movie “Full Metal Shell” differs from the films of his generation because it pays attention to all the events of that geographical area and creates a believable atmosphere for the audience.
Referring to the importance of shots in the film, the director of the movie “Seru Zir Ab” also said: The first thing a director should do is to explain the scene smoothly and simply to the film crew and determine what size of shot and with what movement in the scene. The target must be executed. All cinema plans are derivatives of long view, medium view and close view, and as filmmakers, we must ask ourselves what view we are going to have and why? The filmmaker is free to choose the plan, but the answer should be clear to him at least.
Okay, the composer said that the film should be subject to a suitable rhythm. He added: Every filmmaker has a unique tone that is like a fingerprint. The slow or fast rhythm starts from the script and slowly reaches the filming, and the type of lighting, the amount of shadow and light, the size of the shots and the intersection of the shots in general, the scene design, editing, music and special effects continue.
Stating that the type of lens is one of the important factors in creating rhythm in the film, he continued: What lens we use in the film is important. Sometimes the scenes being day and night affect the rhythm, for example in the movie “Metropole” most of the sequences were night and indoor and after some time I felt that I should change some sequences to day in order to change the atmosphere and make the rhythm of the film more logical. And the most important thing is that the type of game and the tone of the actor also affect the rhythm. For example, an actor must be able to convey different states and feelings in silence, and the type of transfer and feeling of each actor is different from another.
Bashe Ahangar reminded: Some actors like Mehtab Nasirpour and Shabnam Moghadami immerse themselves in the movie “Son of the Soil” and their roles. I remember that Mehtab Nasirpour was on his feet from the very first day that Putin wore his role until the end of the filming, and to get closer to his role, he lived like the Kurds during that time. At that time, we allowed real sunburn on the faces of the actors to make it look more real; I value these little things and fight for them.
Pointing to editing and special effects as another effective aspect of rhythm, he said: Everything that the eye is required to see affects the rhythm of the film. The filmmaker has to ask himself what visual elements are conveyed by the long shot he wants to use. The duration of this transfer will be the same as the duration of the shot, which of course will be finalized in the editing stage, and this issue is directly related to the style of the filmmaker and the writing of the script.
Bashe Ahangar stated that music is another effective factor in rhythm and said: Music adds feelings to the film which is very effective in rhythm. Sometimes an inappropriate music conveys feelings that bring down the film and change the rhythm and the main feeling of your film.
At the end of this three-hour workshop, the students briefly practiced directing and filming with the help of “Mohammed Ali Bashe Ahangar”.
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