The five-hour meeting of the CEO of the Cinema Museum with the directors of Ashurai masterpieces/ There is no more interesting story than Karbala.

According to the Fars news agency, a Durham meeting of the directors of Muharram and Ashura works with the presence of Hassan Jalair, the producer of “Safir”, Shahram Asadi, the director of “Ruz Vakkeh”, Dariush Yari, the director of “Nasur”, Hadi Naihi and Danesh Aqbashavi, the directors of “Hihat”, and Majid Esmaili, the director of the museum. Cinema was held at the same time as Hosseini’s Arbaeen in the Iranian Cinema Museum.

According to Fars, citing the public relations of the Cinema Museum, at the beginning of this sincere meeting, Majid Esmaili, the CEO of the Cinema Museum, welcomed the filmmakers present at the meeting and said: We hope that we can have another representation of a part of the history in which you played a role.

He stated that the works that are available to us today have been done with pure intentions, good sincerity and great success, and he continued: The main purpose of the meeting is why we cannot start a filmmaking process on such an important issue today, while in In the year 2 months, people are involved in the issue of Imam Hussain (AS) and the life of a Shiite Muslim revolves around the Martyrs. I am interested to talk about the idea of ​​the formation of your works and what made you go after making such films.

Hassan Jalair: The amount of sales of “Safir” was twice the cost of construction

Hasan Jalair, the producer of the movie “Safir”, referring to the fact that a book with the same title was published about the life of Muslim bin Aqeel, said: “When I decided to make a movie on the subject of Ashura, Mr. Hashemi Taba came to our aid and appointed Fariborz Saleh to direct. suggested.

He continued: We approached the Islamic Revolutionary Guard Corps to receive facilities and funds, and Shahid Kolahdoz was the deputy of the Islamic Revolutionary Guard Corps at that time and supported us to make this film. The interesting point for me was the complete knowledge of Shahid Kolahdoz from cinema; In such a way that he even knew directors like Satya Jeet Ray well and introduced me, and at that time he provided us with the budget for making the film along with the necessary equipment.

Jalairba pointed out that three million Tomans were budgeted for the construction of the “Ambassador” at that time.

The producer of “Safir” noted: Mr. Kolahdoz was martyred in the middle of the film’s production, while our contract had to be renewed every three months to receive funding, and I didn’t know what to do with Kolahdoz’s martyrdom, but with the help of friends, the film was made and about seven million Tomans were spent to build “Ambassador”.

Pointing out that it was well received by the audience, Jalair said: “At the time of the release of the film, in the same years, the movie “Ambassador” was sold for 19 million tomans, and not only were we able to return the budget that was spent for the film, but we also made a profit. One million and five hundred thousand tomans also came to me, with which I started a cultural complex and this complex somehow became the first cinema school.

He pointed out: In 1962, we organized meetings with the live presence of Yad Abbas Kiarostami, Amir Naderi and Bahram Beyzaei, which were held at the Mustafafan Foundation, and they considered it as their home and watched movies.

Jalair stated: In one of these meetings, Bahram Bayzaei said that he had written a script called “The Day of Incident”, which is the continuation of the movie “Safir”, and I bought the script from him for 60 thousand tomans.

He continued: In the complex that we had set up, various film professors such as Alami and Ghafari came to us and we held classes in such a way that in 1962, I paid 250 thousand tomans to the professors and did not receive any help from the government or the IRGC.

Jalair added: After reading the script of “The Event Day”, I realized that the script has some problems and it should be perfected. I told Bayzai, what do you suggest if you want to make this script, and he said that this script has unwritten lines that if I want to make it, I have to depict those unwritten lines in the film. That’s why I didn’t agree with it much until Shahram Esadi was introduced to me to make “Ruz-i-Aqehe”.

Shahram Esadi: “Event Day” has a brilliant script

In the continuation of this meeting, Shahram Esadi, the director of “Ruz Yakeh” also said: When I signed the contract for the film, I asked Mr. Esfandiari to see Bahram Bayzaei, the writer of the script, in order to thank him and hear his opinions.

Pointing out that he was able to talk to Baizai through the living memory of Fereydon Azma, he continued: Baizai welcomed me warmly and I told him to do my best to make a good film because the script that I received was really It was brilliant.

Esadi noted: I remember Mr. Jalair told me three important points at the beginning of the film, and I took all three into account. One of the points was that they told me that according to our religious beliefs and beliefs, ordinary people cannot hear the call of God, and I realized that this issue is very important in various places when I was explaining about the “Day of the Event” script.

After Shahram Asadi’s speech, the CEO of the Cinema Museum said: I can draw this conclusion from this meeting: whoever wants to work for Ahl al-Bayt must be extremely polite, and Mr. Shahram Asadi showed that he has this courtesy.

Yari: There is no story more interesting than Karbala

Dariush Yari, the director of “Karbala, the Geography of a History”, also said, referring to the screening of his film in Karbala: “One of my blessings is that on the birthday of Imam Hussain (AS), this film was broadcast in Karbala, while I could see the Imam’s shrine through the window. and the next day they gave us the festival prize of 7,000 dollars.

He continued: In my opinion, the incident of Karbala was in a way the last proof of God on earth with all humanity, and the loudest call of Karbala is said to be from the smallest throat of the martyr of Karbala. The events that take place in the land of Karbala are full of divine decrees.

Stating that there is no story more attractive than Karbala, Yari said: As a filmmaker, when I want to make a work about Karbala, I must have a lot of study and knowledge, and when I gain this mastery, I just look like an ordinary person who just entered mourning. .

He reminded: As a filmmaker, I must have extensive religious studies in order to know when I want to define the culture of Imam Hussain (AS), what clothes should I wear to make it look majestic, and the name of this dress is Aain.

Yari continued: Every work has unwritten lines that the more we write the script, those unwritten lines will not be clear because those unwritten lines are the filmmaker’s experience and life about that subject.

Dalvand: I played 70% of the characters in the film myself

Kianoush Dalvand, the director of “Nasor” among the other guests present at this meeting, said: Before making Nasor, my brother had suggested two scripts to be made, one of them was a script about the arrow frigate and the other one was about the day of Ashura, and we finally made Nasor. We built with personal funds and without any support.

He continued: We were in the dubbing stage of the film when an Iraqi company bought and supported Right Film. During the making of the film, I wore a motion capture costume and played almost 70% of the characters in the film.

Dalvand said: As we progressed in the process of making the film, we realized that this story is very mythological and close to our hearts, and we could even understand this issue outside of our interest.

He continued: From the time of writing the script to the time of dubbing, the story and events of Ashura and the sufferings that happened to Imam Hussein (a.s.) and Hazrat Abbas did not leave me. Both when I was writing and when I was speaking, I would constantly get emotional and cry.

Dalvand noted: At first, I thought that maybe because I was close to the work, I would be so emotional and affected, but then I realized that during the dubbing, the other speakers also had these feelings.

Naiji: In the narration of religious stories, we cannot convey emotions well

Hadi Naiji, the director of “Hihat”, said that people liked the film very much, saying: “Many professors tell me why I don’t talk much about the film.” I believe that we cannot convey all the feeling and expression we have in the script through the camera, and the cinema can only make part of it feel for the audience.

He continued: Audiences who are interested in Ashura and Imam Hussain (AS) will definitely understand every little feeling about this interest, and an example of that is one of the sequences of the movie Hayhat in which Hamed Behdad acted, where people everywhere saw me about They used to ask that question.

Naeji continued: “We cannot convey emotions and inner aspects well in the narration of religious stories, and we are weak in this part.” Especially when writing the script. Unfortunately, so far, I have not seen these types of narratives written correctly and in detail on paper so that they can be executed well during production.

Aqbashavi: The secret of longevity of Ashurai films is the artistic look

Danesh Aqbashavi, the director of “Hihat” also pointed to the permanence of films such as Day of the Event, Sefir, Nasor and Karbala, the geography of a history and Nasor, and said: the secret of the permanence of these films is the colorful and artistic look they have had on the events.

Pointing out that making such films is a form of God’s favor and will, he added: The initial meeting for the production of Hihat was held at the fictional film house and it did not last more than a few minutes, and it was decided to make an episodic film based on a specific protocol that would have diversity, harmony and Time is preserved and all four directors approve each other’s stories.

Aqbashavi pointed out that while making this film, he fell into a kind of love madness and said: Fortunately, “Hihat” was seen and received attention both in our country and in Japan. For example, they said that the episode made by Hadi Naiji is very similar to some legends of their country.

He continued: The making of films such as Day of the Event, Safir, Nasoz and other such works is due to the will and devotion of the filmmaker before it is the result of support or a special budget.

At the end of this 5-hour meeting, Majid Esmaili, CEO of the Iranian Cinema Museum, stated that the rewards and rewards of such activities are always reserved, and said: Imams (a.s.) do not leave those who work for them without a share, and they definitely return the reward many times over. I sincerely thank all of you for attending this meeting.

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