cinema trust Cinema Museum, in continuation of its series of oral history talks, has published parts of the artist’s speech, which you can read below, in conjunction with the birthday of Nizamuddin Kiaei, the veteran cinematographer.
According to the public relations of the Cinema Museum, Nizamuddin Kiaei in an interview with Majid Esmaili, the CEO of the Cinema Museum, said: I was born in 1322 in Tehran and grew up in such a way that I was familiar with Iranian cinema before my high school years and knew families that included They were prominent cinematographers and producers of Iranian cinema.
He continued: Although my father was a religious person, he was very fond of cinema and always watched movies with his friends.
Saying that when I was six years old, his father took him to the cinema, he noted: The first movie we saw in the cinema was called “Millionaire” and the actress of that movie was remembered by Shahla Riahi, who unfortunately has passed away. , he was our neighbor and this matter seemed very interesting to me. Because his real dimensions were very different from what was seen on the screen, and this matter had a kind of magical quality for me. For this reason, after watching this movie, I stood in front of his house for a long time so that I could see him.
This veteran sound engineer said: Later, I came to the conclusion that cinema is an important category and one cannot approach it without looking deeply. Cinema is not a personal art, but a group thing. For example, in the matter of sound recording, this process should be done in such a way that the orders and wishes of the director and the cameraman are finally fulfilled. Therefore, it is necessary for a sound engineer to be familiar with the fields of direction, filming, light, perspective, etc.
Saying that the best sound in the cinema is silence, Kayai added: If the sound operator succeeds in recording the sound of silence, he can claim to be a good sound operator. The sound is heard when the silence is broken.
This veteran sound operator said: When I entered Iranian cinema, my acquaintance with Ali Abbasi, who was the most reliable producer of Iranian cinema, was considered a turning point. I went to his office with one of my friends who had an appointment with Abbasi about the release of his film. Abbasi asked me to visit him the next day at noon. He suggested me to be his representative on the set of the movie “Hangame” directed by Samuel Khachikian.
He recalled: When the work started, Khachikian asked me to act as his assistant. At the same time, a special friendship arose between me and Khachikian.
Mentioning a memory from the movie “Runner”, Kayai said: Amir Naderi had made the movie “Runner” before the revolution, but because they were unable to record the sound of it, the filmmaker did not like it and the film was left unfinished. The original name of the film was “Winner” and he asked me to shoot that film under the new name. The presence of sound in that work caused a new spirit to be breathed into Nadir.
In the end, he addressed the youth and said: Today’s youth are the future makers of Iranian cinema, they notice the flaws in every work, and in order to find their personal inner selves, they shoot films in front of the camera.