Cinema Trust On the seventh day of the forty -third festival, the Q&A session of the movie “Play” with Mohammad Reza Moghadamian, with the participation of Mohammad Ibrahim Azizi (writer and director), Mustafa Kiaie (producer), Hossein Jalili, (filmmaker), Nima Jafari Jawzani (editor), Mohsen Kiaie, Matin Heidari and Pouria Rahimi Sam (cast) were held.
At the beginning of the meeting, film producer Mustafa Kiai said:
After eight years I came to the festival and I see the press friends changed. I present the film today to the two myths of television and cinema, Reza Babak and Marzieh Boroumand, who, in our childhood years, when Iran was a rain rocket, was happy with all families with first -rate programs.
He explained about the screenplay and the process of film production: “I was introduced to the screenplay through Mohammad Bahrani. Given the space and theme it had, I felt this text could become a good movie. The film had its challenges and difficulties in the inflated and exciting atmosphere of football, but finally I am glad that the film was made.
Mohammed Ibrahim Azizi, director of the film, said about the formation of the initial idea: “At first, I was going to make a short film with my wife about the adventures that come in between the two halves in the dressing room. Later, my wife saw a football news and showed me it. With little payment and conversation about it, we came up with a general design of the concept of “collusion” in football. A friend of mine brought the script to Mustafa Kiaie, and finally, the script was written and the film was written.
“We were visiting coffee shops and researching various locations,” he said of field research. There I got to know a strange character who threatened me if you shoot, break your camera and scare us a little. Making this film more than money needed boldness, fortunately a bold group came to the film and made work.
Azizi, referring to the film’s approach to corruption, said: “We have been laughing at the issues of corruption and to build a comedy situation and work.” Because this is very bitter and tragic.
“In the past few years, apart from comedy, I have also starred in many serious films,” said Mohsen Kiaie, actor in the film. First, I was going to invest in this project and produce the film. But then, the director suggested this role, and we began to negotiate on the coordinates of personality.
“This character was very complicated for me,” he added. Especially the accent of this role increased the challenge. Along the way, Sudabah Jafarzadeh and Pouria Rahimi Sam helped me a lot. I hope I was able to play this role well.
“Most Iranian boys have dreamed of becoming a footballer,” said Pouria Rahimi Sam, another film actor. We all talk about football and we remember the minutes of the nodes that we wish that the result would be the result of just one incident.
“The size of the role is not important to me,” he said of his motivation to play in the film. I would like to play a different role and influence even in a limited time. I lost weight for this effect and examined all the feelings of the character. During the production, we had the chance to talk to the director, helped create the character better.
Mohsen Kiaei said about the overall atmosphere of the film and how to deal with corruption in football: “I couldn’t get the head of the Football Federation and talk about him or use certain names. This was a news or documentary report, but in the cinema, we define drama and story.
Mohammed Bahrani, the film actor, said of his role in the work: “I thank Sudabah Jafarzadeh and Pouria Rahimi Sam for helping me in learning accents.
“I love football very much,” he said, referring to his interest in football. I know Ibrahim Azizi from college and I know that he could become a footballer at some point, but his path was made to make a football film.
In the end, Bahrani thanked Adel Ferdowsi Poor and said: “He helped us a lot on the way to make this film.” I know he has been fighting corruption in football for years.
Hossein Jalili, director of filmmaking, also explained: “All the rules used in this work are based on the director’s documentary. I tried to help the film and the director accordingly. We were checking the plans and sequences of the next day to achieve a harmonious result.
Nima Jafari Jawzani, the film editor, also said about the challenges of editing the work:
Much of the film is based on the director’s decoupage. The film has an inflamed and sports atmosphere. Pointing to edit such films was a difficult task, and I am glad that it was done.
At the end of the meeting, Mustafa Kiai emphasized: “We had experience working in spaces such as corruption such as” Special Line “and” Barcode “. Our job is to raise the problem and provide a solution to the authorities and sociologists. The artist’s mission is to show the facts that occur.