The broadcast of “Soran” will not be without reaction!/ “Gharib” without “Fossil”? – Mehr news agency Iran and world’s news

According to Mehr reporter, the meeting of “Soran” series was held on May 28 with the presence of Mojtaba Farvaradeh, producer of the series, and Mino Khani, film and television critic, at the book fair.

At the beginning of this meeting, Farvarde spoke about the book “Esrahi Kriskan” which was the source of the adaptation of the series and mentioned the other potentials of the book: I will always present what it has in this series. also has

Mino Khani further stated in the definition of adaptation: In general, when we talk about adaptation, we talk about taking advantage, but if we talk about adaptation as a literary work, a news work, video, news report, etc. can be the source of adaptation.

He added: “The end of some films is written as a free take, and in these cases, it is not possible to find common ground between the work and the source, rather, it was an attractive idea that was the source of the production, and one cannot expect the producer to be very loyal.” While in the adaptation, the creator is not only an idea, but also loyal, and you can even compare the first and written work with the visual work to see how committed and loyal the creator remains.

Khani clarified in another part: In the written work, we are faced with the word, while in the cinema, we are faced with the “image”. Sometimes in the words when talking about a tree, it is not said which tree, while in the cinema it is shown exactly what characteristics this tree has and it should be taken into account that there is imagination and visualization in the written work.

Farvardeh, who also produced the adaptation of “23 People” in his career, further clarified in response to the story being revealed to the audience by making the film: The story of twenty-three people was first a documentary work based on this book by Mehdi Jafari. produced for radio and television, with which the circle of this work was formed. The seed of the film was then made with that documentary. Although after about twenty years, a documentary film was made from it.

He added: It is not the case that the adaptation is necessarily made from a written text, sometimes it is from an event.

Farvaradeh also said about the loyalty to the book in the “Soran” series: One of the reasons why adaptation happens less often is because of the challenge that exists between the creators of the visual work and the written author, and each sees the work in a different way. Golzar Ragheb, the author of the book “Kriskan Eras” is not only a good writer but also a companion. He has tasted everything he mentioned in the book.

The producer of “Soran” explained about this cooperation: Golzarraghab very modestly announced that he knows that the requirements of literature are different from the film and he himself said that you want to translate my book in another language and in this respect we were very comfortable with him. Even when he saw parts of the film, he expressed his happiness and announced that the same parts that we experienced in Kurdistan were in the film.

He added: It is very difficult to be faithful to the text, maybe you cannot be faithful to the performance. When we want to tell a Quranic story, we cannot be faithful to all the details, but if we do not violate the spirit of the work, we can be faithful. The ruling spirit must be preserved. This is also the case in literature, the author presents a text and I make the audience of that world according to my experience and mind, but when we want to visualize that work, we have to take an average of these worlds and talk based on it. For filmmaking, we are obliged to bring the space closer to the mind of the audience.

Farvardeh clarified: In the method of adaptation in any field, from the stories of the prophets to the Qur’an to other events, the ruling spirit must be preserved, but due to the drama, there is no other way but to process a part of the story.

In another part, he pointed to the Surah Cinematic Organization, which is in charge of the production of this series, and said: I want to say goodbye to the Surah Cinematic Organization, which has set its foundation to adapt books and has opened the adaptation to the image field.

This movie producer also said about the subjects of the adaptation: In the adaptation, we go to pure people and unknown heroes, whose life is not possible to design by ourselves.

Khani also said about adapting people’s lives: Our history is full of people who can set a path for us as a model. The 60s are full of attractive people, so why not talk about them.

In the continuation of Farvaradah, about why the lives of great heroes have been adapted less in these years, he mentioned: the problem that we do not go to great characters is not the filmmakers, but the directors. Cultural managers have come to work except for a handful of irrelevant people, and they basically occupy a place, and you understand that the only place they don’t belong is culture. They want to keep their table and are not willing to pay. The reason why we have such a chaotic situation in culture is because we don’t have future-oriented people towards culture.

He also clarified about the challenges of making the series and whether it was shot in Kurdistan or not: We are not going to go to that geography to produce any work, but the important thing is to present that geography to the audience. We did not go to Kurdistan and provided this space in other locations. Our story is about 45 years ago, and we had to go to Sardasht, for example, and turn it into Sardasht 45 years ago, but we tried to provide these conditions in the environment where we were filming.

Further, Farvaradeh said about the prediction about the Soran series: If we are dealing with contemporary history and even the past, we must also have current affairs, and we must go to history when we find a way to the future, otherwise, simply reciting history will cure pain. We also tried to narrate to Let’s present a day from Christian evenings. In my opinion, this series is also a work that others react to and take a stand against, and it does not simply come and go.

He further said: We are zero and hundred in the field of adaptation. Either we don’t work in the field of Holy Defense, or we will all be sad about the Holy Defense Film Festival. As far as I know, they are going to make films based on the lives of about 40 martyrs, but the film is effective when it is next to works with other atmospheres. “The Stranger” is effective when it is screened next to “Fossil”, otherwise it will become the festival we held in Fajr this year, which was more similar to the holy defense film festival!

In the end, Farvardeh said: “It seems that we have to maintain a balance in the approaches, otherwise an atmosphere will be formed in a few years and then it will be forgotten.”