Cinema Trust Producer Amir Hossein Sharifi in a detailed discussion; Iran has a rich cultural history, and it is from the same history that a whole -class artist is created and now we see the cinema, the home network is booming and every different work is produced. If we put aside some hardships and support different things, it will definitely be produced by films and serials.
Amir Hossein Sharifi, a longtime cinema producer, told the off -road program: “During four decades, I have produced a film, including film to Telephilm and …, which is a record in my kind and with most of the elders from Dariush Mehrjui to Massoud Kimi and … We were even supposed to make the Prophet’s childhood film with Ali Hatami. Ali Hatami Kelly Research and we spent a lot of money and the initial script was prepared, but they did not allow Ali Hatami to make that film. Or I was supposed to produce an Beyzaie dog film, but I insisted that a professional actor like Nikki Karimi be the lead role, but Beyzaie wanted to put his wife- Moda Shamsai. I personally care about professionalism and wanted professionals for professional cinema because I put money out of my pocket and wanted to return.
Sharifi, referring to collaborating with Dariush Mehrjui and Nikki Karimi in the production of “Perry”, said: “Nikki Karimi had to enter the water pool in one of the fairy scenes, but Nikki Karimi did not go under and Mehrjui insisted that he should go into the water but he would not go into the water.” We even poured hot water into the pool, but it didn’t go until Mehrjui said if he- Niki Karimi- I would change the actor and resume all the sequences !! Finally, Karimi agreed to wear diving and wear his clothes and go into the water …
“The banquet had a good story, and after Kimii gave me the story and I agreed to produce, there was a rumor that the film was for Saeed Emami while Imami had not come behind the scenes!” The “banquet” is a complete product of the private sector and its capital is for me, and even shows that I offset the budget deficit by loan from the Bank of Commerce under the Karim Khan Bridge. To say this, I entered the story of Hassan Javaherchi myself so that representatives from different segments of society were present in the film.
Sharifi criticized Golshifteh Farahani’s migration with him in the film “Cold Tears”- said Golshifteh was really a capable actor and it was a pity to emigrate. Golshifteh was very disciplined and talented, and I got a Kurdish language teacher to play in tears, and soon learned the Kurdish language. He even worked with a 4 -degree fever in the tears of the cold, and when I saw him badly, I told the director Hamidnejad to shut down, but Golshifteh himself opposed it and said if I had to die.
He continued: “Golshifteh came to me before the migration and a subtitle of the film grabbed the cold tears and said I wanted to go and whatever I tried to hope to stay, he didn’t. Eventually he took the film and went, and after the migration of Fatah, tears were read because he had been censored and audited for a long time and…
Amir Hossein Sharifi narrated the story of his journey and Iraj Qaderi to the north: One night we were sitting with Iraj Qaderi, and Golzar read a little more with a guitar and Qaderi chose him and entered the cinema. Qaderi said you want to come to Tehran and test acting … Golzar was a well -educated and honorable boy, and in terms of photogenic face, Qadri was right, and at the first glance I told Qaderi you really know the right face for cinema.
Sharifi, referring to Shahab Hosseini’s acting abilities, said: “Shahab Hosseini at the beginning of the work, in a telephone called” Omm “from my production. I realized at the very beginning of production because it was very interested in his work because he had been so screened that the script I gave it and had a bombardment that it was black and all somehow wanted to nourish the role and make it.
“We have no more professional actor, that is, a actress who can play both comedy, drama, criminal and mystery,” the experienced producer said. We now have a series of typical comedy actors, a series of so -called social actresses, an art actor who has made all the roles well, and that’s why the sale of movies and socially depends on the presence of the same Typical actors.
Sharifi expressed hope for the future of the Iranian drama art industry: Iran has a rich cultural history and it is from the same date that a whole -class artist has been created and now we see the cinema, the home network is booming and every different work is produced. If we put aside some hardships and support different things, it will definitely be produced by films and serials.