Director Kianoosh Ayari, writer Mohsen Azram, actor Bahar Katouzi, director Mehrdad Ghafarzadeh and the compiler of this collection and Shadmehr Rastin, secretary of cultural preservation of the National Cinema Day, were present at this meeting. They talked about the book collection of Kianoush Ayari’s screenplays, about the relationship between cinema and books. they spoke
At the beginning of the ceremony, while welcoming the guests, Mohsen Azram said about the importance of books in cinema: “I welcome book and cinema lovers who are present in this gathering. In my childhood days, cinema started with paper, before watching movies, we read books, that too when books were few and there was only one magazine about movies, yet everyone who was interested in cinema knew that they should Let them know cinema by word. In recent years, the number of books has increased, but I don’t know why the number of movie book readers has decreased, while we know that movie enthusiasts have increased more than before. With all these interpretations, it can be said that cinema lovers have cut off books.”
At the beginning of this meeting, Kianoosh Ayari said about the book “Tanureh Ye Diu”: “The issue of turning my scenarios into screenplays was brought up by Mr. Mehrdad Ghafarzadeh, and we tried to make the books informative and not just have a story aspect.”
He said about the story of turning his screenplays into a book: “A few years ago, one of the publications asked to publish the screenplay “To be or not to be”, but I ignored this issue for a year and it was somehow forgotten, but in this case, as Mr. Ghafarzadeh was behind the work, the process continued.”
He continued: “Some moviegoers avoid books and believe that the image itself is instructive, but in my opinion, and sorry for this example, even going to the toilet requires reading, so it should be read.”
Don’t give it to the directors
Ayari continued and said about his interest in writing: “My colleagues and I do not have a definition, don’t give it to the directors. When I was in the first grade of elementary school, when I was able to make a sentence, I wrote my first story called “Karim in Terror” at the age of seven. I wrote when I was a year old and I thought I should continue and become a writer. Around the age of twelve, I continued to write in the way that I wrote the scenarios of the movies I saw on the cinema screen, later I started writing my own ideas and I wrote my first movie called “Unforgiven” at the age of seventeen.
This director continued: “The world of cinema confused me, and I fell in love with cinema with my first film, “Tanure Ya Diu”, and when I was a goalkeeper as a teenager, I never thought that anything could separate me from football, but cinema did it. I often joke that when I was born, I asked my midwife whether cinema had been invented or not, and she said yes, and I was born. I don’t know what to do if there is no cinema? Because I don’t even know how to travel.”
“Mahi Azad” is the only screenplay by Kianush Ayari that was not made
Mehrdad Ghafarzadeh said about his interest in Kianoosh Ayari: As someone who followed Mr. Ayari’s work, I always wished to work with him. I didn’t even enter the cinema professionally, I had worked as a friend with Mr. Makhmalbaf and other friends, but I always wished to see how they work. My interest in him grew more and more until I decided to turn Mr. Ayari’s screenplay collection into a book.
He reminded: Mr. Ayari rejected the position of film production in France because of “two halves of an apple”, because they had promised to make this work before. At that time, an opportunity arose for them to stay in France for a year and make a film for Cannes, but they returned to Iran to make “Donimeh Sib” due to loyalty to their morals and keeping their word. Neither is the desire of the critics.
Then there was a situation where I received the collection of screenplays from him, the teacher agreed, and Cheshme Publishing was also with us. For me, the discovery of Mr. Ayari’s works was an Indiana Jones-style discovery.
Ghafarzadeh continued: In this series of books, we have collected 13 screenplays from “Devil’s Oven” to “Beach Villa”, which will be published in order. This collection of works is not only a script, it has an introduction, there are on-stage narrations, master’s experiences, decoupages and many manuscripts from him in this book.
In the continuation of the meeting, Mehrdad Ghafarzadeh, who was in charge of compiling this collection of works, in response to the question whether all of Kianoush Ayari’s screenplays were made, explained: In general, the screenplays he wrote were made only during the search for a screenplay called I came across “Mahi Azad” when I realized that Mr. Ayari did not write this script and they did not remember when they wrote it or why it was not published.
I see a big gap between cinema and literature
In response to the question of whether you have ever written a screenplay from among literary works, Ayari said: Basically, I see a big gap between literature and cinema, of course literature outside of cinema is dear to me, however, I have read almost all Iranian stories, there are writers in Iran. They are eloquent like Ismail, whose works are very good for cinema.
Kyomarth Pourahmad’s “Strange Brothers” is better than my “Nimeh Duseeb”.
Ayari said about how to write the screenplay of “Nimeh Do Sib”: For years, my works were not accepted by Irshad. In order to be able to work and manage life’s affairs, there was a book called “The Strange Sisters” by Erich Kästner, which I called “Nimeh Do Sib”. I left it and the fact is that it wasn’t a good movie, in my opinion Kyomarth Pourahmad’s movie called “Khuhran Gharib” was better than my work. In my film, my actress Maryam Mosadeghi got pregnant after the filming started and she could no longer play the role, and I had to change the script just to get rid of those writings.
About his interest in working with Mahmoud Dolatabadi, he said: I talked with Mr. Dolatabadi to write a work based on “Clayder” and he agreed, but the producer did not reach an agreement with Mr. Dolatabadi financially. Once, a long time ago, I read “When there is a vacancy in Seluch” and I liked it and wanted to make the part of Lok Mast. I brought up the idea with Dolatabadi and promised that his opinion would be fulfilled. I did not make it.
Even Sedavasima wishes to work with Kianoosh Ayari
Vahid Nikkhah-Azad, a cinema producer, was also present at this ceremony and at the invitation of the hosts, he spoke for a few minutes about Kianoosh Ayari and the cinema of this director.
He said: I did not have the good fortune to do a joint work with Mr. Ayari, and my heart aches for the younger ones because they lost the experience of watching his films at the festival. Mr. Ayari is like a person who moves on rocks and builds a path with every step, and when we look at them, we realize that he has created a green world in cinema due to his diversity of work. Ayari has never spoken politically, but has always been concerned and addressed important social issues; For example, in the same movie, “Father’s House”, he mentioned an important issue, which is female genital mutilation.
He continued: Ayari has always had banned films such as “Couch” and “Father’s House”, but he spoke so calmly that a disaster TV station like Sedavsima always drooled to work with him and show his works. knows
If our audience distanced itself from the book, it distanced itself from imagination and cinema
In the next part of this program, Mohsen Azram raised the question that cinema, as Mr. Ayari said, relies on images, but what is the need for cinema books to learn cinema? And Katouzi said in response: “I will start with Kianoush Ayari, he said not to praise us directors, but I want to praise Ayari, we are lucky to be in your time, your camera did not just want to produce a work, “out of breath” It is a live narrative of the revolution that I suggest you watch. In the “Ruzgar Gharib” series, your artists acted so well that we think they are real and not actors. Today, a type of cinema is being destroyed due to the relations of cinema such as film sales and box office, so we should be proud of you that your works remain for us and we know that despite your works, cinema still has good films.
At the end of his speech, Katouzi said: You read books and live among people, in the way of creating a work, these things are interconnected, it is not possible to be among people and produce good works like yours. If our audience stays away from the book, it will stay away from imagination and cinema. Literature is important and cannot be separated from cinema.
Why did we distance ourselves from literature?
Furthermore, Mohsen Azram said: In the late 40s and early 50s, Bahram Baizaei, Naser Taqwai, Fereydoun Gole, and Dariush Mehrjooi were making films. In that period, no one thought that a time would come when cinematographers would feel no need for literature and reading books. The point of reading books is that some of the most important films in the history of cinema are adaptations, so why have we now distanced ourselves from literature?
Ali Hatami revised the script of “Dilshdegan” eleven times
He said: There is a saying among writers that they say write with your heart and edit with your brain. There is a moment in writing that cannot be achieved with movies and photos. Seeing this order is formed while reading a book and slowly gives the mind the idea of how to arrange its mind in the external reality. Writing and reading provide a coherent thinking model. When I like something, I rewrite it for myself, and I learned this story from Mr. Hatami, who wrote the script of “The Beloved” eleven times, without crossing out the previous writings, and this Masoud Kimiaei also did the work and I learned to always write from these two greats.
Khaneh Cinema, in cooperation with cultural centers, organizes the National Cinema Day Cultural Week from 18 to 26 September in cultural centers of the city.