Bridging the Gaps | إختصار المسافات

In this insightful episode of Yasir Alyasiri's (Masmoo) Podcast, Yasir delves into the critical role that studying plays in a filmmaker's journey. He discusses how investing time in learning and understanding filmmaking principles can save time and effort compared to figuring out the rules on your own. Yasir also shares his experience of filming abroad for the first time in Turkey, stepping out of his comfort zone and away from the familiar crew and locations at home.

This episode highlights the challenges and growth that come with working in a new environment. Additionally, Yasir recounts the story of his first project using a film camera, a pivotal moment that significantly influenced the trajectory of his career. Join us as we explore the invaluable lessons from formal education, the excitement and hurdles of international filmmaking, and the profound impact of embracing new technologies in the film industry.

Don't miss this episode packed with practical advice, personal anecdotes, and inspiring insights from Yasir Alyasiri's remarkable career.

في هذه الحلقة المميزة من بودكاست ياسر الياسري (مسموع)، يتناول ياسر الدور الحاسم الذي يلعبه التعلم والدراسة في مسيرة صانع الأفلام. يناقش كيف يمكن لاستثمار الوقت في تعلم وفهم مبادئ صناعة الأفلام أن يوفر الكثير من الوقت والجهد مقارنة بمحاولة اكتشاف القواعد بنفسك. كما يشاركنا ياسر تجربته في التصوير لأول مرة في الخارج، في تركيا، بعيدًا عن منطقة الراحة وطاقم العمل والمواقع المألوفة في الوطن.

تسلط هذه الحلقة الضوء على التحديات والنمو الذي يأتي مع العمل في بيئة جديدة. بالإضافة إلى ذلك، يروي ياسر قصة مشروعه الأول باستخدام كاميرا فيلم، وهي لحظة حاسمة أثرت بشكل كبير على مسار حياته المهنية. انضموا إلينا لاستكشاف الدروس القيمة من التعليم الرسمي، وإثارة وتحديات صناعة الأفلام الدولية، والتأثير العميق لتبني التقنيات الجديدة في صناعة السينما.

لا تفوتوا هذه الحلقة المليئة بالنصائح العملية، والحكايات الشخصية، والرؤى الملهمة من مسيرة ياسر الياسري الرائعة.

Chapters

• 0:00 Intro Music | موسيقى المقدمة
• 0:11 Headlines | محتويات الحلقة
• 0:36 Recap | مراجعة سريعة للحلقة السابقة
• 4:51 Film School | دراسة صناعة الافلام
• 8:12 The 180 Degree Rule | قاعدة ال ١٨٠ درجة
• 12:45 Cultural Differences | إختلاف الثقافات
• 15:43 Graduation Project | مشروع التخرج
• 18:18 The project that changed everything | المشروع الذي غير كل شيء
• 23:18 Turkey, here we come | نحن قادمون يا تركيا
• 27:51 Airplane delay | تأجيل الرحلة
• 30:07 Lost in translation | تائه في تركيا
• 32:46 Dream team | فريق الأحلام
• 37:51 Quality Vs. Time | الوقت في مواجهة النوع
• 40:04 Impress them visually | ابهرهم بصريا
• 41:50 Non-Realistic shooting Schedule | جدول تصوير خيالي
• 45:12 Being kicked out | اتفضل من غير مطرود
• 46:53 24 Hours out | إختفاء ل ٢٤ ساعة
• 49:37 Additional Project | مشروع إضافي
• 50:23 Almost dead | قريب من الموت
• 51:14 Post Production | المونتاج
• 52:02 Going home | العودة الى الوطن

Transcript

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[Music] The importance of studying, shortening distances,

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and pampering obstacles that may take you years, and the first filming trip outside the zone of safety

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and comfort, benefiting from the experiences of others, learning from mistakes, and turning them into rules

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and regulations. All of these are topics that we will discuss in the third episode of the Audible Podcast with me,

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Yasser Al-Yasiri, at the end of the episode. Previously, we have come to the conclusion that a very important clip came to me at

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a more important time, and it is the clip by the artist Basil Aziz, and its importance lies in the fact that it came at a time when I

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was already in confusion between whether I should continue with what I am doing, which is to maintain quality and quality,

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or should I stop listening to the words of whoever is going around and change the subject. I will go into a craft and photograph as much as

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I can, and that's it. I mean, the matter will be just money, and I will collect as many clips as possible until

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I have it, which means it will be an official profession. I mean, if I was already at that stage, frankly, I almost decided

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that it's over, I won't take the subject as a craft and photograph the largest possible number of clips

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that come to me. Regardless of their prices, because preserving the scenes or the type is very difficult because you

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must select the things that you want to settle in a very detailed selection and you must be

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very sensitive to your feelings as a director so that you feel them and present the best with them. This dog is as important as we said

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at this exact time. He will prove that this is the basic feeling. Is it that I give priority

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to quality at the expense of quantity or not? By God, what is correct is quantity at the expense of quality. Of course,

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the importance of the clip other than the timing was that the artist Basil Al-Aziz wanted to shoot it in cinema,

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and by cinema photography we mean shooting with cameras that are used in cinema in films, which

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means 35 mm 35 mm. And the 16 mm was 16 mm. At that time, the singers who were

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in the first and second levels always filmed their clips with cinema cameras. It turned

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out that they had production in the field, and the differences in the image at that time were very large,

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between shooting in cinema or filming in digital, and what was digital. I mean, even HD used

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to deal with simple things, but they were not very accessible. Either Digital or Cinema

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VRT previously and Rotana later decided to imagine their works that were almost important to

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their important singers in the way of cinema, and this means that it shows a little difference in Kuwait between the bitches and the bitches

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of other singers. Those who are from outside ERT or Rotan until they reach a level close to

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these levels offered by ERT Otan. The singers who have the first

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and second levels felt that cinematography would bring them closer to the stage of the kind that is offered

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to these singers, so the clip was very important to me because I am proving myself, I am proving that whichever

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path I am going to take, this is the path that we said is quality at the expense of quantity, or

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the second path, which is quantity at the expense of quality. Before I get into the details of this

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clip, I want to go back a little to Laura and talk about the subject of the study and the year that preceded

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the artist’s dog show. Basil Al -Aziz, of course, during the year in the previous episode, which

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we discussed quickly, or in until the clips mean what was mentioned, but it means almost, I mean, the support of what

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I was saying in the clip, for example, what I settled to the artist Kazem, the painter, who is a sweet response

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. The clips of Ana That I mean and Ali I mean,

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the available data and the available possibilities were, for me, always considered steps

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forward, and then of course came the second stage in which I made quick clips at the expense of

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quantity, not quality. This stage, of course, I do not want to mention the names of the clips, but it means that the stage

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did not last long. Thank God, perhaps. Less than a month ago, the artist Bas Aziz came to me with a clip

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that he filmed in cinematic style this year as well, and the year before that. I had left

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the College of Engineering in Iraq. I came to finish. My interest then became in filmmaking, and I decided

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that I would study in the Emirates regarding this field. I did not mean specialized colleges

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and universities specializing in filmmaking, but the options are limited to studying media or

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mass communication in the universities available in the Emirates, and of course, this means that the media deals with the media

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in a comprehensive manner in all kinds, and with a focus on journalism most of the time

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, so I did not feel that I had found what was lost because I really did. I want to study filmmaking

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and take a filmmaking class only, so I tried and kept looking around, but there were no options in the Emirates. The

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available options were either in Europe or in America, so I always had a premonition that I wanted to continue

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studying, but I did not want to study anything that I did not feel would add to the passion I currently have.

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He benefited from the fact that the things that I will learn from studying will actually benefit me in my

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professional life, and this was the most important goal for me, so I kept looking for this type of university,

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and at the end of 2004, universities and colleges began to come and open

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their branches in Dubai. There is something in Dubai called the Knowledge Village. Knowledge Village contains everything, meaning

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things related to education and education in general. It has hip shops, workshops, universities

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, and colleges. Among the groups that came there was an academy called the Manhattan Film Academy.

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Manhattan Film Academy came first in 2005. By coincidence, my older brother Anwar Al-Yasiri was there.

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He heard about this topic and this topic came at the time when I was already

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looking for it to study and I saw universities such as the University of Sharjah, the University of Ajman, and

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the American University in Dubai, but as I said, the majors were always limited to studying

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media in general, so he asked my brother the topic that was specific to the University of Manhattan and told me to go and see.

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What is the matter? I was happy to remember Nour Felij and sat with the dean of the academy, whose name is

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Robert Tutak. He explained to me what the goal they were coming to achieve, meaning exactly what

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they wanted to focus on, and at the same time I explained to him that what I want is what I want, meaning

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a working director and a working editor as well. Of course, he

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was attracted to this subject, because I wanted someone to have a job in the field, so I felt that this is

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what I wanted, frankly. I mean, so I joined the Manhattan Academy in Norgeville, Dubai,

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and began the journey of studying there over the course of a year. What I saw and what I learned there, I mean, I want to describe it

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as It is priceless. Why do I remember the first lesson we took, which was in movie making, especially

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direct directing? The lecturer came and sat explaining about

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two directs in general, and started with a

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rule called in English, which is the 180-degree rule. The 180-degree rule, in brief, is that according to...

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The general composition of the master shot, which contains all the elements of the scene that you are photographing, is

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the foundation between, for example, an actor who is on the right and another actor who is on the left, or it may even

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be between an actor and OPEC, meaning an object, not a condition that it be, meaning

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another actor. What is important in the master shot is from the right. From the left, there becomes an imaginary line between them, which is

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called the line of action. The action line is between the two characters, or between the two objects, or between

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a character and an object, and this determines on the master shot who was on the right looking to the left and who was on the left looking

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to the right, and the camera does not cross this imaginary line that Between the two characters

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we call it in Arabic, meaning it is a very common term,

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which

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is

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the And then when you cut to the left, the left will see the right, so you are not obligated to, in the foundation

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that you established, the right will continue to see the left of the Left camera, and the right will continue to see the right of the camera. I saw this is

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almost the first thing I discuss in the first lesson of the direct lessons. Why do I consider this topic

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to be priceless and the heart of my world, because I almost This topic has been going on for the past two years. I mean,

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I mentioned that I thought in the first episode or the second episode that I used to watch movies and see, I mean,

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the series that come to my mind on television or in the cinema. I go and watch them and I always try to make sense

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of them, and then I see this thing. Honestly, I kept making sense of you

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and your illusion that the line of illusion has been broken, but it is. Of course, it was not broken, so I mean at the time

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I could not even explain it, but I stayed for a while and tried and saw and concluded that this is correct. This

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year may have been a year and a half. When I reduced the explanation to ten minutes, I discovered the great importance

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of study, and what you can add, I mean, directing, I mean, it is certainly a talent like drawing. Like any

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art or any type of art, studying can be very short for you. It is a hobby. It means all this effort

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that you can put in until you get something right within your talent. Study can shorten it for you, as happened to

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me with this rule, at least in a few minutes. So I felt the importance of studying and I felt

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that it The field that I am currently entering in with studies will benefit me not only with the base. It will also

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benefit me with other similar things that may be similar to the base and may be greater than it or less than it, but

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it will benefit me very much in my life, which I have decided to work on in directing and

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filmmaking. Frankly speaking, we were studying the film Make in general. We were studying direct-record,

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and we were studying cinematography, which is photography. We were studying performance montage, and we were studying

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acting. These were approximately the four main branches, and the lecturers were always, I mean,

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most of them were people nominated for Oscars. They came, for example, lecturers like the director Michael

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Chino, who won an Oscar for The film Deer Hunter is one of the great directors,

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and we used to watch a film almost daily and sit and analyze

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and hear your opinion and the opinions of the rest, because there are always students in the study, each one trying to prove that he is

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the one who understands more, so you hear opinions. Sometimes you go to the very side of Extreme, and you realize that this person

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really went to Extreme what he needs. The issue is that this is an extreme, not that there are fewer opinions than it should be,

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and you feel that this opinion is good, but it is possible to add to it some opinions that are accurate. I mean, then you hear

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the opinions of the professors who are correcting, supporting, or refuting, I mean, it depends. I mean, the proposal that was

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present, and the students were of different nationalities, was helpful. From the Netherlands, from

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America, from Bahrain, from Australia, from India.

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There are different schools of understanding cinema. The topic of discussion on films is always watching a film and

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discussing it. It has always been very important for me to gain an understanding of the

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different nationalities of the film industry, or even of ordinary stories. I mean, for example, to watch the film I Remember. For example

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, we saw the movie The Serious Father, The Godfather Fashloun, which comes from an Indian environment

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He sees the actions of the mafia, how he is in the American environment, and how he is in the Arab environment. It was

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a very important gateway for me, as it opened my eyes to the things of

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my hobby. It taught me and shortened my distances. I mean, I didn’t even know how to estimate it

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in units of distance. I mean, because I thought otherwise, it would have

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meant that I stayed or spent time on my hobbies until I reached it by being myself. Or the type I took in

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directing, which is that I must try to be knowledgeable about everything I do and responsible for everything I do.

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This was important for me because it helped me in evaluating the path that I was going to take, so I finished

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the study well, and at the same time I was studying, producing, and directing, and I noticed the development that I mean. It happened

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to me as a director during my studies or after my studies. No, I swear I began to discuss

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certain terms, even with a photographer and directors of photography, and I wanted to. I used to photograph with them before studying. I did not

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discuss topics that I had discussed later or that I was sure of. Later, I started to straighten the storyboard

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correctly. I started to straighten the shot list. Or decoupage, in other words, more correctly, meaning that I became

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proficient in the tools that help me in my work. The synchronization of study with work was very important

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for me. The period of study ended, and now the time has come for us to present the graduation project. In the

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graduation project, all four become a team. One of them must be the actor, and one of them must be the actor. One of them will be

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the photographer, one of them will be the editor, and one of them will be the director, and one of them is between

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all the students’ projects. I mean, for example, I can have my project as a director, and the other three can be

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between actors, photographers, or editors, and I can be

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a cameraman in my friend’s or my other colleague’s project, and so on. We start according to each one’s project and film.

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The academy itself provided us with acting talents of different nationalities

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so that we could choose from them and provide the equipment that we would use. So I remember that I,

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of course, worked with my colleagues. I worked as an actor, I worked as a photographer,

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and I worked as a editor on a project. Of course, I was the director and my colleagues were with me. One was a photographer

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and one was an actor, and we recruited the actors that the academy provided, and we settled on the projects. My project

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was a scene, meaning it was not adapted, but it was very influenced by the movie “Grandfather Father

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.” I brought clothes and dressed them, meaning clothes and costumes similar to “Grandfather Father,” and I made three scenes

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of a short film, meaning it speaks in this scope, and of course

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the rest of the projects that All colleagues, to be honest, were all good. To be honest, I mean,

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I wasn't the director, and of course I was the editor, so

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I decided that I would be the producer. They were providing editing equipment at the academy, so I decided to make

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the film Black and White. I honestly didn't think of the preparation as Black and White as a plan.

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It would be Black and White, especially since I was influenced by the original, and the main influence comes from the movie The Serious Father,

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which is not actually Black and White, but I don't know. I felt that if Black and White would go to

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a better place, so I made Black and White, and frankly, I was impressed, I mean, the people in the academy, and they

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were like... They won the competition, which was the best graduation project, and the film won as the best

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graduation project. This was almost the first award taken for anything. I mean, her feeling was very special, so

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let me go back to the clip of the artist Basil Aziz

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and cinematography for the first time, after I explained the previous year, which... I mean, I studied it

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and made works with it that were suitable for me in terms of the goal I wanted to achieve, and I made other works

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that were in the stage of confusion, where I was walking behind the quantity or the type. The artist Basil Al-Aziz

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had this song. The singers were trying to film a movie, and I would love it if they traveled to countries

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like... Lebanon, Syria, or Turkey, of course, which was very high at that time, their dog had reached

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a point where when the artist himself appeared, he would be placed in a distinct place, different from the one he was placed

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in, and necessarily

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Bas Al-Aziz had the clip. It was a song called “We Lost You.” It was composed by the

0:19:36.919,0:19:42.520
great artist Walid Al-Shami, and it was Not only did he have

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the idea for the dog himself, he had the idea for the dog’s money, the artist’s brother, Bass Al-Aziz, and the one who was interested in it was my friend Ghassan Al-Aziz. He

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wanted to make the general idea for the clip based on the movie Ghost by Patrick Swayze and Demi Moore,

0:19:59.360,0:20:07.799
which is the very famous movie Al-Shouh, so this was the idea. I mean, this is what needed to be implemented in kind.

0:20:07.799,0:20:14.360
On the amount or the difference of opinions with the other directors who agreed with them, I think they did not reach

0:20:14.360,0:20:20.039
a path. I mean, I can get to work and produce it

0:20:20.039,0:20:25.600
. With the presence of Basil, the artist Basil Aziz, in our company

0:20:25.600,0:20:34.679
, and I started doing work. I mean, you can tell that I am doing something important,

0:20:34.679,0:20:41.159
and I remember we were standing once. Before, outside the company's door, we were

0:20:41.159,0:20:49.760
with the artist Basil Al-Aziz and he was a musician. I don't want to mention his name now. I mean, they were

0:20:49.760,0:20:56.080
one of the moments of frankness, which, I mean, affected me very negatively. It might have been a challenge when someone worked, so we were

0:20:56.080,0:21:03.400
standing, and he was saying, "Basal Al-Aziz tells the story of the topic, the dog, and what kind of person is he?" He's struggling

0:21:03.400,0:21:10.600
with how he's going to do it or where he's going to do it with a number of directors, names. I mean, the directors

0:21:10.600,0:21:18.640
at the time were making materials. I mean, there's a problem with certain successes. We're standing there. Bass said, "Why don't

0:21:18.640,0:21:25.320
you do it? Yasser." The musician who was standing there, Ras Qumz, on the other hand, said, "No, Yasser, what about it?" Hey

0:21:25.320,0:21:33.919
He brought so-and-so, he brought so-and-so, he brought so-and-so. Of course, the musician did not think his intention was bad. The musician’s

0:21:33.919,0:21:40.799
intention was to benefit Basil Al-Aziz, but he forgot me while standing. This person is saying, “What is this, Najeeb

0:21:40.799,0:21:49.440
? ”

0:21:49.440,0:21:57.559
The work came to me, of course, because the first thing that came from the idea that Ghassan, brother of

0:21:57.559,0:22:02.240
the artist Basil Al-Aziz, means it coincided with the idea that I would like

0:22:02.240,0:22:08.200
to do it actually, so I felt on the contrary, adding to the dog could be done,

0:22:08.200,0:22:15.679
and at that time it means a balance that this thing will happen or will not happen, and I did not weigh accurately, meaning

0:22:15.679,0:22:22.720
I was not calculating. I believe that productivity is correct, so I think it was still there. I mean, even if Basil or Ghassan

0:22:22.720,0:22:27.880
told me, “We want to do Jurassic Park, Dinosaurs, and the Clan,” I told them, “You can settle for

0:22:27.880,0:22:34.840
the amount you have.” I mean, I didn’t have those calculations. Passion, motivation, and enthusiasm were

0:22:34.840,0:22:44.559
what controlled the decisions I made, but sometimes there are things that don’t count. In a precise way,

0:22:44.559,0:22:51.559
it leads to paths that can change your life for the better, so we seemed to say this is the end of the dog.

0:22:51.559,0:23:00.360
The next stage is deciding where to film the dog. We know we have the clip. We have the idea and we

0:23:00.360,0:23:07.440
promised. The most important factor is that the cinema must be imagined, but where is the country? Of course, between

0:23:07.440,0:23:12.640
Syria and Lebanon, because we know Syria and Lebanon as Arabs. We talk to them and we can do what we want,

0:23:12.640,0:23:18.039
and most of the singers. I was filming between Syria and Lebanon, especially Iraqi singers. I mentioned

0:23:18.039,0:23:23.559
in the first episode, I think, and the beginning of the second episode, the crew that worked

0:23:23.559,0:23:32.720
with me on the first dog, which is the Mac, Mr. Enad Sheikhani, and I mentioned that he was responsible for

0:23:32.720,0:23:38.600
the productions that ER was doing. He was in charge of filming clips in Turkey, he was in charge of

0:23:38.600,0:23:44.520
the production, he was with them, Macir, and little by little he got into the subject of production, meaning he worked with all the

0:23:44.520,0:23:50.880
Arab directors and presented very important works, and they worked. Of course, I then made almost all of them like Care,

0:23:50.880,0:23:56.360
and made important programs, and I made a doctoral movie, I remember, and television interviews, meaning it worked. And

0:23:56.360,0:24:03.240
what a hobby, he was almost every day present in our office as a friend. I mean, he happened

0:24:03.240,0:24:07.559
to be there at the time the topic was raised that we want to make

0:24:07.559,0:24:15.000
a clip for Basil Al-Aziz and shoot cinema. He said, “Why didn’t you film it in Turkey?” Of course, he said, “Why don’t you film it

0:24:15.000,0:24:21.960
in Turkey?” I mean, why is it that we can film it in Turkey? I mean, this is his reaction. I

0:24:21.960,0:24:28.440
mean, is there a possibility? He told me how much money you have. I told him the amount is such and such,

0:24:28.440,0:24:34.960
and the number is, I mean, it was a number that was considered higher than every number that I had ever taken before, but we want to know

0:24:34.960,0:24:41.919
that this number is not the one that opens the gates of the world for you and you can imagine it. What you want means to

0:24:41.919,0:24:49.520
know that the remaining numbers of clips are due to be replaced by Bash. He said, “Maybe, what is the idea? We said, ‘This is the

0:24:49.520,0:24:55.720
idea, one by 3.’ Of course, I took the idea from Ghassan and made it into a story board. I made it into a list

0:24:55.720,0:25:02.720
shot and divided it by by by on the clip. I mean, I was dividing it before the story board

0:25:02.720,0:25:09.360
of the song. On the time code of the audio itself, I mean, I come to take the audio, and since it is mine, I

0:25:09.360,0:25:14.640
mean, I am a editor and I have knowledge of editing, so I start, I mean, I listen to the song

0:25:14.640,0:25:23.279
and imagine it being produced, and just this editing, I write the events that happen on the time code

0:25:23.279,0:25:28.520
of the audio, and I have what is like, I mean,

0:25:28.520,0:25:33.799
the idea of ​​the clip is complete, meaning it is consistent. With the time code,

0:25:33.799,0:25:41.360
then I take these things and divide them by the sites and the location, so that it is a shot, not

0:25:41.360,0:25:48.760
a location by a location, and I specify the times that I want to settle it, meaning that the matter should be in an

0:25:48.760,0:25:54.159
organized and large manner. In Sheikhani’s stubbornness, Al-Sheikhani prepared for us. When he raised

0:25:54.159,0:26:01.640
this thing, I think he added an element of strength to it. Regarding my position that I am making this clip, I mean, when I returned to

0:26:01.640,0:26:08.679
the artist Basil Al-Aziz and told him that he filmed it in Turkey, not in Syria or Lebanon, this is an addition, and

0:26:08.679,0:26:15.000
Al-Sheikhani is considered to be from my camp. This may have led to greater enthusiasm for

0:26:15.000,0:26:19.080
him, and the harmony that occurred between me and Ghassan

0:26:19.080,0:26:26.440
in that regard. Then it led to the fact that we were going to do a special project, so we decided that we were going to film

0:26:26.440,0:26:34.000
The Dog in Turkey, and we went and got the visa. I, Basil, Ghassan,

0:26:34.000,0:26:42.840
and Enad were at their location in Dubai for Turkey, and the enthusiasm means a million. I have a new experience with all

0:26:42.840,0:26:48.840
its elements and a promising experience. I mean, I am doing something that I know for sure will move me. A step forward

0:26:48.840,0:26:55.000
, regardless of whether the work succeeded or did not succeed, but I took an experience away from the comfort zone that I am in,

0:26:55.000,0:27:01.039
away from the place that is close to my house, the place that is from the large company that deals

0:27:01.039,0:27:08.159
with it. All of these things mean a new experience that will be added to me, and I think that means, and I was sure that it would.

0:27:08.159,0:27:16.039
This thing will lead to me being in the midst of something new and it will benefit me in my career. We went to

0:27:16.039,0:27:21.880
the Turkish consulate in Dubai and entered the consulate while we were waiting for the appointment and settled the procedures

0:27:21.880,0:27:29.320
for the visa. I entered their consulate and saw Turkish flags and saw pictures of Mustafa who also came to Turk,

0:27:29.320,0:27:35.600
and the sites in Turkey are all new worlds and all of them. A dream for me means this feeling

0:27:35.600,0:27:42.760
that I had. I wanted to do something as close as a dream. I got my visa, we booked tickets,

0:27:42.760,0:27:51.360
and that's it, we're going to travel to Turkey to have this very exciting experience. For me, we went

0:27:51.360,0:27:58.440
to the airport and boarded the plane. We were on the plane

0:27:58.440,0:28:04.679
before there was a topic that we had to call the phone or the mobile phone. A while ago, I had a hobby, meaning who

0:28:04.679,0:28:10.080
Even during the takeoff, during the flight, Ghassan was open, meaning before

0:28:10.080,0:28:15.960
takeoff, in a hobby, and this thing is normal now, but he cried. Maybe it was not normal, or maybe they

0:28:15.960,0:28:24.200
were the Turkish airlines controlling you. I mean, the pilot was a little late, so the flight attendant came and left, and oh, Ghassan,

0:28:24.200,0:28:29.840
and Yana, why was he opening his cell phone, and why didn’t you hear the pilot? He didn't say blocking the mobile phones

0:28:29.840,0:28:35.519
, so it's good that the delay was on our side. We stayed for about two hours sitting on the plane and the plane had not taken off.

0:28:35.519,0:28:40.200
The last thing in the air, they said that the plane was not going to take off, so there was a malfunction in it,

0:28:40.200,0:28:46.960
and we will take you because we have finished exiting, so there is no point in re-entering the Emirates again,

0:28:46.960,0:28:56.399
as if we were the passengers who were On the plane, we were seated at the hotel, which is exclusive

0:28:56.399,0:29:01.919
to Turkish Airlines, and we are considered to be leaving the Emirates, but

0:29:01.919,0:29:07.960
we are a hotel inside the Emirates, and on the second day for the second pilot appointment, we returned a second time, of course.

0:29:07.960,0:29:14.200
I mean, all of this, for me, was an adventure. To be honest, I mean, it was not. I did not feel that it was possible

0:29:14.200,0:29:19.880
today if the plane He was late for half an hour, and he was still fussing and annoyed, but at that time it was all part of

0:29:19.880,0:29:25.360
the same adventure that I was experiencing. So we returned the second day, and thank God, this time we did not open

0:29:25.360,0:29:31.760
the mobile phone or do anything, and of course it was definitely not the mobile phone on the plane. I don’t know what was wrong with it,

0:29:31.760,0:29:40.760
but the flight attendant explained the previous thing to us, as they say. We flew and arrived in Turkey. Enad

0:29:40.760,0:29:48.080
Sheikhani, Basil Al-Aziz, and Ghassan Al-Aziz and I disembarked. He was waiting for us at the airport. One of the companies

0:29:48.080,0:29:55.880
that Enad Sheikhani deals with had previously been involved in producing or executing the production of clips for IRT

0:29:55.880,0:30:03.399
in Turkey. Enad was approximately the same. It may have been three or four years ago. Al-Turki could be

0:30:03.399,0:30:12.559
filming. It was a new experience for her. Coming up, we met one of the Shirk who was the driver

0:30:12.559,0:30:19.399
and we went up with him. Neither he spoke English nor we spoke Turkish. So, it was

0:30:19.399,0:30:27.159
an understanding using gestures and we would move our hands like this like a game until we say so-and-so talked to so-and-so and we have

0:30:27.159,0:30:33.159
so-and-so in a place that I don’t know what we are of course to understand. He knows Turkey well, but he understands Turkey, so he said

0:30:33.159,0:30:40.880
that the place where we are sitting is close to Istiklal Square in Istanbul, which is Taksim,

0:30:40.880,0:30:48.960
and the important street, which is the avenue that divides Taksim and Istiklal Square. We were happy and sat down. We went to the hotel

0:30:48.960,0:30:59.120
that is Enad Shaykhani, who was recommended by our doctor. The hotel, I mean, was very classic and very old, but

0:30:59.120,0:31:06.559
In a nice way, I mean, it is the European classic, which is all wood, and we saw pictures that a while ago,

0:31:06.559,0:31:13.480
Ricky Martin was sitting in this hotel. George Bush was sitting in this hotel. He is coming. I don’t know how to visit

0:31:13.480,0:31:22.240
Turkey. So, I mean, I will tell them details because they all add to the general experience for

0:31:22.240,0:31:31.360
me as a person before. I was going to be a director for the clip that was going to be filmed, so we sat in the hotel, and it meant I remembered

0:31:31.360,0:31:39.120
the elevator that only took two people and a piece of wood, and it opened in a way that was strange and a little scary, so

0:31:39.120,0:31:44.159
it meant a very nice experience. He sat down from the hotel and we started to

0:31:44.159,0:31:49.639
go to Taksim, the street, and the famous avenue in Taksim

0:31:49.639,0:31:57.880
and the shops. As for me, I mean, I’m living a dream. Until now, I mean, I feel like someone should sit me down

0:31:57.880,0:32:04.000
and say, “No, you, not you, this is a reality, not a dream.” At that time, the currency

0:32:04.000,0:32:11.399
of Turkey’s money was one million liras. I mean, after them, there were still six zeros, so it meant that the

0:32:11.399,0:32:20.600
current currency, for example, was 1 million liras before, so its current currency was 100 liras at the time. One million liras, so

0:32:20.600,0:32:27.039
it was a bit of a strange thing for me and for us. I mean, of course, I won’t explain to you. In the first few days, we all

0:32:27.039,0:32:34.320
buy clothes and buy things that we find nice, because it means that I am impoverished. I don’t know about

0:32:34.320,0:32:40.840
the rest of us, but I think they were fascinated, but of course, Basil was traveling to European parties, and so on,

0:32:40.840,0:32:45.960
so maybe he is. I am less impressed than the rest of us, perhaps Ghassan and I the most, and the second

0:32:45.960,0:32:50.960
day we sat in the company that will carry out the production. Kanan, the owner of the company, is called Janay.

0:32:50.960,0:32:58.320
I remember until now that we were sitting, settling meetings, and starting to talk about the dog, and there was something that

0:32:58.320,0:33:03.279
caught my attention very much in this clip, and then of course in everything. The works that I filmed later in

0:33:03.279,0:33:10.840
Turkey, the Turkish crew adopts the idea of ​​dog money, seriously strange, which

0:33:10.840,0:33:15.720
we in the Arab world do not have today. By the way, we in the Arab world do not have it today. It is always

0:33:15.720,0:33:23.600
raised as saying that we adopt the idea. I mean, for example, let us say, for example, the idea of

0:33:23.600,0:33:29.320
​​someone getting married, divorced, taking his family, and traveling to another country. Any

0:33:29.320,0:33:34.600
idea means a simple idea, but when we come to the Arabs, any one of the crew comes and says:

0:33:34.600,0:33:41.600
What is the idea? We will do this. We will do this. We will fix the house. We will do this. We take from the plane, but he does not talk about what

0:33:41.600,0:33:47.559
he adopts the idea itself. I mean, he does not talk about it, and it is an adopted idea with all its details. He talks about its implementation,

0:33:47.559,0:33:53.320
but he is shy. He almost says that,

0:33:53.320,0:33:59.519
like when a character enters, the character must have this feeling. I felt that we do not have

0:33:59.519,0:34:05.559
this in the Arab world. Until now, I notice that the people are almost ashamed to

0:34:05.559,0:34:13.200
embrace the idea as if it were an idea he was going to live before the viewer, and before implementing it in Turkey. They do not care

0:34:13.200,0:34:17.919
about the idea that I am writing as if it were their concern. They write it

0:34:17.919,0:34:23.560
and talk about the characters as if they were characters they actually know. I mean, since Hajj, I used to see

0:34:23.560,0:34:30.159
the clip in front of me, and when this comes, I feel that it is because it is like that. I wanted it to come out like that, but you remember this

0:34:30.159,0:34:37.359
person when he went to so-and-so place, because this place started talking about his job if he had never heard it before. Unfortunately

0:34:37.359,0:34:41.679
Like what I say to this day, I don't always hear about us. I don't know why we, as cards, are ashamed

0:34:41.679,0:34:49.440
of the idea and actually adopt it. This is an idea. Even sometimes, I mean, he and I, my crew,

0:34:49.440,0:34:54.960
work on important work. It's almost like he doesn't mean I don't say they mock,

0:34:54.960,0:35:02.400
but he is ashamed. For example, he talks about a certain feeling in a specific situation in a specific scene, as if it were... It is a reality,

0:35:02.400,0:35:09.000
no, it is for him that this is not a reality, this is a project being implemented in Where 3, so I will present

0:35:09.000,0:35:14.720
to you a Where 3 in Turkey. No, I have not seen the opposite, no, the reality of the topic for them, I mean, this idea

0:35:14.720,0:35:23.240
is real, as if it exists, so the topic has caught my attention from then until now. With

0:35:23.240,0:35:29.400
the foreign crew that I did then, of course, I mean, I work for anyone from Britain, from America,

0:35:29.400,0:35:35.720
from Europe in general. They are the ones who come and talk about the idea that I wrote it, Abak Abak. It happened yesterday and they have

0:35:35.720,0:35:43.000
not adopted the topic, unlike the Arab crew. In my opinion, adopting the idea is very important because it

0:35:43.000,0:35:50.280
keeps you safe. Do your work as best as you can, because the things you are doing are always surrounded by

0:35:50.280,0:35:58.440
logic and a real perception. Therefore, the things that you will present are based on real tangible feelings

0:35:58.440,0:36:06.520
for you first, and will reach the viewer second, and it makes a very big difference in all

0:36:06.520,0:36:12.520
the works that you filmed outside or worked with. An international crew, and I hope to be honest today, the

0:36:12.520,0:36:19.640
world-class crew will be lifted. I mean, there is no shame in that when I come to speak, I do not speak on behalf of an actor, I speak on behalf of

0:36:19.640,0:36:26.040
the character, and I use the character’s interactions and give new interactions

0:36:26.040,0:36:31.240
of my own in sympathy with the interactions of the original character. This will lead to an atmosphere of creativity among

0:36:31.240,0:36:40.520
the crew itself and build the work in a way. This is a business in which we were partners. Meaning, the makeup artist is a partner,

0:36:40.520,0:36:48.839
the hair dresser is a partner, and the production assistance is a partner. They are all partners in the idea, not partners

0:36:48.839,0:36:55.640
in implementation. They are partners in the idea and are essential elements in it. This greatly leads to the matter

0:36:55.640,0:37:01.280
being brought to a better level, and this is like what I said and what I noticed. Until now, I found out about this thing from

0:37:01.280,0:37:09.880
the Turks, and we started to attend, and the preparation trip was very wonderful. We set up, meaning, reconnaissance of the Lokesh

0:37:09.880,0:37:17.079
or Scout, and I go, meaning I know that it is Turkish, divided into two halves, the European half and the Asian half,

0:37:17.079,0:37:24.880
and we see the places and choose the place, and the location manager and four assistants. This means the definitions

0:37:24.880,0:37:29.880
for the crews at the time, me and me. The capabilities that I had and the money available from

0:37:29.880,0:37:35.599
the businesses that I had done previously did not exist, so these were all new experiences for me,

0:37:35.599,0:37:43.640
other than of course the topic that I want to shoot cinema, and this is the first time that I shoot cinema, shooting with raw film,

0:37:43.640,0:37:52.400
which is films and rice, art. This meant loneliness as an experience, I mean in a world. Another was the director

0:37:52.400,0:37:58.000
of photography from Turkey, his name was Zakaria Kurtuluş. He had made important works

0:37:58.000,0:38:05.880
and video clips in the Arab world, and he was a very helpful element in how we would implement the idea. We

0:38:05.880,0:38:14.800
did not have photography for a day, but the scenes could be 65 scenes, which means that the things

0:38:14.800,0:38:20.240
I photographed are not compatible.

0:38:22.420,0:38:25.610
[Music]

0:38:27.520,0:38:33.200
For the crew and me, I felt that this thing was possible, but with paper and pen it was almost impossible

0:38:33.200,0:38:39.839
because I asked for a hobby of things and I asked for it and what sites and their concern was that the script that I brought

0:38:39.839,0:38:44.920
and the idea that I brought would be implemented. Okay, we knew that on the day of filming this

0:38:44.920,0:38:50.880
project, it would be implemented from A to A. Here we go,

0:38:50.880,0:38:58.000
and we started the two cups and we started the whole path and the production design. Everything according to what it means, as the book says, as

0:38:58.000,0:39:04.880
they say, and everything is coordinated correctly, and it was almost always, meaning the atmosphere in Turkey

0:39:04.880,0:39:12.920
every day. We would finish and go from 8 in the morning, and we would finish at about five in the afternoon, and then at seven, we would go out

0:39:12.920,0:39:19.720
and have dinner. We, as a crew, have this atmosphere. I mean, there are connections, and I continue to have a

0:39:19.720,0:39:25.440
nice work relationship between the crew and us. They were, frankly, feeling comfortable, and

0:39:25.440,0:39:31.560
this topic excited the artist Basil Aziz that he was filming a second work. I mean, he said, “It's over, we're

0:39:31.560,0:39:38.079
in Turkey.” He saw the atmosphere and saw everything I told you. He said, "Why do we shoot a clip after so long we've been

0:39:38.079,0:39:43.079
here? He said to me. I told him, of course, a million pains. You bring a bunch of clips. I'll make them. I mean, I'm

0:39:43.079,0:39:51.400
living in a dream. I mean, I hope to continue shooting 70 clips, not a clip, and two dogs. He heard me

0:39:51.400,0:39:57.880
the song. We sat down and settled on the idea. Such and such and so and so." In the same vein, we put together, I mean, I wrote

0:39:57.880,0:40:05.119
the things and the idea that we put together is not realistically applicable, but we put it together regardless of that, so

0:40:05.119,0:40:13.960
we have filmed two clips, which are the song “We Lost You” and the song “My soul will be sacrificed for you,” or “I am in We Are Going

0:40:13.960,0:40:20.119
to Turkey.” I certainly put my effort into choosing the locations, so that I choose the locations that show that

0:40:20.119,0:40:26.000
we are going to Turkey. And other than this clip to this day, it depends very heavily on

0:40:26.000,0:40:31.720
the aesthetics of its image. It is true that from the beginning, I always cared that there be an element

0:40:31.720,0:40:37.000
of drama that is present in almost all the clips that I made later, or even that I did previously. Is there

0:40:37.000,0:40:45.520
an element of drama that I focus on, out of sympathy for those who love movies? I mean, in addition to the visual,

0:40:45.520,0:40:53.400
there is an interest in creating works that look like paintings in every scene, especially in the

0:40:53.400,0:41:00.680
lip-syncing scenes, which are the singing clips. I mean, you make the most of what can be visually dazzling, and Turkey, God

0:41:00.680,0:41:07.480
willing, means that whoever goes to Turkey will know about it, everything, from nature. Building from

0:41:07.480,0:41:16.560
the atmosphere, I made sure that all the things I chose were illuminated under the scope of that.

0:41:16.560,0:41:26.240
Visually, it will be nice and beautiful. I mean, we are done. We have reached the days of filming. I mean,

0:41:26.240,0:41:31.240
after a few days, we will be filming, and now we have two cinema clips. Because I told you, the artist Basil

0:41:31.240,0:41:38.280
Al-Aziz got excited and saw the atmosphere, so I felt that it was necessary to film more than one clip. Of course, I asked for

0:41:38.280,0:41:43.079
rain in the first clip, which would bring a little rain. The second clip

0:41:43.079,0:41:49.200
, but with the first clip, I am currently doing a rain scene and doing graphics, meaning everything one can

0:41:49.200,0:41:56.640
imagine in the world. Together, we started shooting. I remember that the call time was not at

0:41:56.640,0:42:03.800
3 o’clock because it meant that the sun was there at that time. I honestly don’t remember, Shahr, but at that time

0:42:03.800,0:42:10.920
it was rising. I mean, it was very early and it was setting very late. I mean, the sunset call to prayer might be at 9 or 9:15.

0:42:10.920,0:42:19.640
It was at night, so the day was long. This helped my hobby because I was photographing outdoor activities during the day,

0:42:19.640,0:42:27.400
so I wanted to take pictures of things here. I mean, I was photographing this in particular. I mean, every moment I was excited and

0:42:27.400,0:42:33.920
happy. We took pictures of Basang and her plate. Our pictures were sharp. The car, and we photographed the groups and cameras in the car,

0:42:33.920,0:42:42.839
the car mount that is under the car, the Jeep, and the carriage, meaning everything that can be settled, and frankly,

0:42:42.839,0:42:50.280
I mean, a large part of this issue is due to the assistance of our professor, Anana Al-Sheikhani,

0:42:50.280,0:42:57.520
that for the small amount that we had, he would not tell me that he does not mean to provide this

0:42:57.520,0:43:03.280
, and of course. Of course it is necessary that they are the company executing the production. What she was saying does not mean

0:43:03.280,0:43:09.680
that it will definitely not be done. I mean, no one will bring them, so they will provide all the things that I requested, but the only problem

0:43:09.680,0:43:15.760
is that I did not keep track of the time and I wanted to do all of these things. I mean, I do not want

0:43:15.760,0:43:23.240
to create an impossible scene. I mean, our pictures are a lot. A very large number of things. We came out of the street

0:43:23.240,0:43:31.000
where the accident took place and went to take our pictures in a cemetery, and then we went and watched additional scenes, 50, 60

0:43:31.000,0:43:37.400
ones, and pieces in each scene, no less than 15-20 pieces,

0:43:37.400,0:43:43.359
and this is cinema, so it is more difficult, because with cinema it is not like digital, in that you can film

0:43:43.359,0:43:49.559
at your own convenience. Whoever imagines went while we were on a digital camera, so that we would sometimes film and go back to filming above.

0:43:49.559,0:43:55.319
I mean, if we didn’t like it and you couldn’t see what was filmed, I mean, you can see in the video finder what

0:43:55.319,0:44:00.319
will appear, but with the monitor, it’s not like digital. It doesn’t give you the same picture that

0:44:00.319,0:44:08.000
will appear with the monitor, not with the cinema. A cable comes from From the cinema camera to a device called

0:44:08.000,0:44:15.640
a video-assist on a monitor that records on a BHS video cassette at that time so that I can recreate

0:44:15.640,0:44:21.160
the scene behind what they imagine. You cannot recreate. I mean, with the cinema, the film is finished and you will not see it except

0:44:21.160,0:44:28.079
through what you recorded in VHS, which was coming from the video. The camera is video based

0:44:28.079,0:44:33.680
, of course, the video is black and white and distorted, meaning it has nothing to do with the final image, because the

0:44:33.680,0:44:39.240
final image is you, I mean, as a director, the only opportunity you have to see it is in the viewfinder, before the set,

0:44:39.240,0:44:45.000
to make sure that this is the image she wanted, to make sure that it is the lighting that she wanted, then all the things

0:44:45.000,0:44:49.480
related to acting, the type of performance, are gone.

0:44:49.480,0:44:54.680
You can see it on video. I created it through VHS, which records from video to the camera, so it was

0:44:54.680,0:45:00.319
a bit of a process, I mean, strange for what I got used to, of course, a little bit, and I filmed frankly, as much as you can

0:45:00.319,0:45:05.760
imagine. I mean, I filmed websites for a hobby, people a hobby, and after the day, when I died, I started photographing

0:45:05.760,0:45:11.920
and photographing and photographing and photographing, and the night came. We had to go filming indoors. We were a

0:45:11.920,0:45:17.960
football hobby, so we finished. We entered, meaning more than 17 hours of filming, and I was almost half of

0:45:17.960,0:45:24.920
the clip behind me. So, you can imagine the situation. I mean, no one has said anything yet, but the house

0:45:24.920,0:45:33.000
in which we were filming, Al-Maria, wanted to expel us. The mother of the house Then they talked about the Turks, so she said, Okay,

0:45:33.000,0:45:39.280
okay, how much do you do? We are filming. You enter the kitchen with the same photography. You go in and wash your clothes. You open

0:45:39.280,0:45:43.960
the pain. What do we say, thank God, in the clips? We don’t need the sound because it means the sound he

0:45:43.960,0:45:48.760
used was the audio of the song, so the sounds were making it up. I mean, it’s not like the series “If.”

0:45:48.760,0:45:55.160
No movie, I mean, I couldn't film anything, so that was my problem, but the times when you shoot

0:45:55.160,0:46:01.000
in the frame, carrying clothes or bringing food, it means you want to put in the effort until we get out, so we finished

0:46:01.000,0:46:08.559
and went to another place, which is a second street, and at night and rain and rain and extras

0:46:08.559,0:46:14.319
, and as they say in Iraq, you get fiber and fiber every time. Something could happen, even if after me, I had

0:46:14.319,0:46:22.079
25 hours of filming so far. We reached 4 in the morning. We came to dawn again and went to a hospital scene,

0:46:22.079,0:46:30.359
an operation scene, and a scene. So, to sum it all up, we reached 32 hours of continuous filming, so that the last

0:46:30.359,0:46:38.599
thing was when I finished, maybe I would have one more shot of a scene left. It's not a single shot scene, and it's Urdu.

0:46:38.599,0:46:46.680
I mean, I'm not taking up a hobby. I mean, the football is over yet, and it's their right. I mean, 32 hours straight, no sleep,

0:46:46.680,0:46:54.760
nothing. Think about it. I mean, he brought it in a hurry, as they say. He decided. After they started filming, we were happy. We went back. Everyone

0:46:54.760,0:47:00.599
went home. Actually, I don't know, I swear, what a day I mean. I know the day that filming began, but

0:47:00.599,0:47:06.440
I don’t know that the day we reached the end of the topics, I mean, by the way, by the way, 32

0:47:06.440,0:47:13.680
hours, and up to 35 hours for the director, pass in minutes. I mean, from the first hour of filming, I feel

0:47:13.680,0:47:18.119
that the filming will end after a while, so time

0:47:18.119,0:47:23.240
is running. As for the director, I don’t know what tricks. As for the other departments, it means there are works that

0:47:23.240,0:47:30.280
only have a producer, or it may be that it means a little more time spent, but as a director, time runs on you because it is you.

0:47:30.280,0:47:38.640
You have a number of things that you want to settle, and it is limited to time, such as a football game, and for example, the team wins

0:47:38.640,0:47:46.800
and wins, and extra time begins in minutes. The winning team feels ten minutes. The audience feels it

0:47:46.800,0:47:53.480
in half an hour, and the losing team feels it in four seconds. Because this one wants to say, and this one

0:47:53.480,0:47:59.920
wants to end, which means the scales are different according to your vision. The time is

0:47:59.920,0:48:08.040
actually, I don't mean, the imaging computer finished in a quarter of an hour. It didn't feel like 2 hours. I went back to the hotel and told

0:48:08.040,0:48:15.520
them, "I'm going to find out when I'm going to sleep. I don't know what I'm going to sleep about. Honestly, I mean, I remember I slept. All

0:48:15.520,0:48:22.400
I know is that during sleep, I get up at night, open the refrigerator, eat biscuits, drink water, and come back." I'm sleeping, but

0:48:22.400,0:48:27.280
that's what I remember until I actually sat down. I sat down

0:48:27.280,0:48:36.400
and found the artist Basil Aziz, meaning he's calling me, and Ghassan's calling me. They said to me, "Are you okay?

0:48:36.400,0:48:44.800
What are you living dead?" I told them, "Why did you come out? I'm sleeping exactly 24 hours. I mean, I'm literally sleeping 24 hours,

0:48:44.800,0:48:52.440
interspersed when I get up and eat biscuits." I remember a refrigerator and drink juice and water only. I mean, I wasn't

0:48:52.440,0:48:58.440
tired, but I didn't feel tired, because as I said, the time relative to what it was was a quarter of an hour.

0:48:58.440,0:49:06.480
The clip ended, thank God. The first cinema clip reached safety, and now we are preparing for

0:49:06.480,0:49:15.440
the second clip. The second clip, I did not learn from whom. It is a mistake, I mean, coordinating the time with what can be

0:49:15.440,0:49:21.680
done, and the same thing means I wanted to do it. I don’t know if this is a mistake, frankly or not, because in the end,

0:49:21.680,0:49:30.559
I executed the clip, for an amount that is considered small, but I used hobby things, meaning the clips enriched

0:49:30.559,0:49:36.240
my enthusiasm for its time. Perhaps this is what reached the ball, making them feel that it is this thing. Actually, it might

0:49:36.240,0:49:42.160
be the same. He filmed the second clip of the song “My Soul Is Your Feedak,” and this second clip is a little more

0:49:42.160,0:49:50.680
romantic. They are about drama. They are about a boyfriend and his girlfriend leaving each other, and with flashbacks. I filmed in

0:49:50.680,0:49:58.079
Taksim, I filmed in the streets of Turkey, I filmed in a house, and I filmed the same thing. They almost arrived. The dog arrived,

0:49:58.079,0:50:06.280
I think. 29-28 hours of continuous filming. It was like one day, so I took a picture of the metro, which

0:50:06.280,0:50:12.079
of course the metro at the time was for us as Arabs. I mean, it was in Egypt, but I mean, not

0:50:12.079,0:50:18.720
everything. I mean, it was familiar to the Arab public, so the metro was very important for us to film in it, and

0:50:18.720,0:50:25.599
I had to remember that he would isolate himself or get drunk at 11 o’clock. At night, we had to film after 11. At night, we had fun

0:50:25.599,0:50:33.319
filming on the metro, and I was watching it. My understanding at the time was that he wanted to do a scene in which he was

0:50:33.319,0:50:38.319
Basil Al-Aziz, meaning he would jump from between locomotive

0:50:38.319,0:50:43.319
to locomotive. At that time, he died. He understood the subject of satin, and then, of course, he would explain

0:50:43.319,0:50:49.720
the subject of satin, dubbing, and technique. You use it until you do scenes like this. I don't want

0:50:49.720,0:50:55.839
the train to go and I get Basi Aziz to play and Basi Aziz wants to play and Farhan. It's all air-conditioned. And the production

0:50:55.839,0:51:01.680
means they want to fix this thing. But of course, the father of the train said, I swear to God, on your neck, you're

0:51:01.680,0:51:08.359
crazy. You're coming to film here and you're going to die one by one, so we're not left alone with praise.

0:51:08.359,0:51:14.359
God did not let us settle this thing, and we finished filming in the metro and finished the second clip,

0:51:14.359,0:51:21.760
and I went to produce the two clips. I mean, the first thing I did, of course, was that we finished the development that

0:51:21.760,0:51:27.200
took us from the film that we shot to Negative to Positive, and then we settled on the Cine, which is

0:51:27.200,0:51:34.359
Positive, and converted it to digital so that we could grow and be with I mean, with the best crew, I mean,

0:51:34.359,0:51:38.440
it was a very important company. Kanan Karst, whose name is Michael, is from America.

0:51:38.440,0:51:44.480
He was one of the very important people. Don’t forget the clip, but I need to do the graphics work, because we have shots

0:51:44.480,0:51:50.240
in the first clip, especially since he doesn’t know, like Ghost. I mean, he doesn’t know he’s dead until

0:51:50.240,0:51:57.599
the end of the clip, that she’s coming. I mean, you walk and you enter inside it, and this was the shot, meaning graphics, and it was

0:51:57.599,0:52:05.240
one of the first graphics pieces that I did, so we fixed it there and finished the two clips, and I took the

0:52:05.240,0:52:10.480
final material for both, and I took the relative materials,

0:52:10.480,0:52:22.920
as a memory, and we returned to Dubai. In Dubai, a very new trip will await me after I actually did

0:52:22.920,0:52:30.240
something, so I am gone. It does not take me one step forward, but hundreds of steps forward, and this is something that, God willing,

0:52:30.240,0:52:38.040
we will discuss in the next episode. I hope I have been easy for you and provided what will benefit

0:52:38.040,0:52:42.400
the listeners. Thank you very much.