Trust cinema Arash Ghasemi said about the feature of voice acting in documentary cinema: In the voice acting of documentary works, one should try to remain faithful to the sounds, but at the same time, one can add sounds that are not real. They often have the idea that voice acting in documentaries should be very realistic, but so to speak, it can be cheated a little. For example, in one of the documentaries for which I did voice work, we see images of insects walking on trees. In reality, this walking does not make a sound, but in documentary cinema, we even add this sound to the film to attract the viewer’s attention.
This veteran voice actor continued: This year, we have a film at the Haqirat Cinema Festival called “The Land of Fire”. The sound you hear in this movie is not actually the sound of that area, but we did the sound based on the feeling and state of the characters while living in that environment, which I can say is a little exaggerated. Because we wanted the viewer to understand the feelings of the characters in the film. But in a fictional film, there is no need for these things. The viewer of these works is fully familiar with the sounds he hears. The sound of the car door cannot be changed or, for example, the street has its own sound. Unless we are dealing with works of science fiction.
In response to the question of which type of cinematography is more difficult, Ghasemi said: Here we are actually facing two questions: which is more difficult and which is more attractive? Voice over in documentary film is much more interesting. Because it gives you the feeling that you are creating sounds for different sequences. But in a fiction film, the work process is not like this, and I think that voice acting is more difficult in fiction works.
Stating that he has had various collaborations with directors of different generations, he said: When I work with experienced people like Mr. Farsi or Aktsabi, the work is much easier because these dear ones have reached full maturity and so to speak, their task is clear with themselves and what they want. . There is peace in this kind of collaboration and it even gives you the feeling that you are learning from them. But working with less experienced generations sometimes becomes more difficult because we have to explain everything we do in voiceover and sometimes they accept ideas with fear and worry. Of course, there are also young people like Mohammad Kart who act very mature while still young. We collaborated in the films “Blood-death” and “Avantage” and won awards for both films.
Ghasemi added: Basically, in documentary films, it is necessary to reach a common language with the director. Mutual trust is very important and the director trusts and tries new ideas that the voice actor suggests. The director must believe that all these ideas are created based on strategy, not just sound and effects.
Stating that he tries to accept offers that he likes, he said: “Perhaps one of the reasons why I have become so busy is that collaborating in documentary works has become very attractive to me.” For example, this year I collaborated with Mr. Aktasabi in a documentary film called “Khat al-Qaar”. Honestly, I didn’t want to be a part of this work when I saw the movie. I liked this work so much and I knew it would be a lasting work, so I quickly accepted the collaboration offer.
Ghasemi said about the technical weakness in Iranian cinema: I do not accept the technical weakness in terms of the performance of specialists and artists, but in terms of equipment and technique, we are a little behind advanced countries, which we compensate for with the creativity of my colleagues. In fact, we are not behind international standards in terms of sound, and we have even won several awards from prestigious international festivals in this field. We fill the technical gap with our ideas and especially in recent years we have brought ourselves closer to the world level. Arab countries have the best technical equipment, but when there is no idea and creativity, these tools and equipment will not be very efficient.
He said: I am very happy and grateful that the Hahitt Cinema Festival also pays attention to the technical aspects of films. This makes us feel that our work is seen and this is valuable for us. Being seen causes our work to be criticized, and criticism ultimately improves our work.
Until a few years ago, whispers were heard that the technical parts would be removed from this festival, but Mr. Hamidi Moghadam said that this will not happen as long as he is in charge and I hope this process will continue forever.
In the end, Ghasemi said: Being judged in the festivals, both in terms of content and technical aspects, will improve the level of work.