INTERVIEW WITH BAHMAN GHOBADI. Exclusive for PFC.
[oz note: bumped to Exclusive]
Fascinating FARSI films! How I love them.
Be it Iron Island [ Mohammad Rasoulof ] or The Day I Became A Woman [ Marziyeh Meshkini ], Secret Ballot [ Babak Payami ] or Offside [ Jafar Panahi ], Father[ Majid Majidi ] or Beneath the Skin of the City[ Rakshan Bani Etemad ] they have all succeeded in enthralling us with their tales, the way they tell these tales.
None I admire more than the Director of TURTLES CAN FLY. So when I ran into Mr Bahman Ghobadi at the Toronto Fim Festival last September, in a chance encounter, I could not have asked for a better ‘festival’ treat.
He proved to be a very unassuming man, with a perpetual twinkle in his eye and a lovely handsome clean shaven appearance.His easy charm belied his struggle to make films in a harsh region where war is a daily occurence. His friendly countenance encouraged me to establish regular communication with him, so when I suggested an interview last month in March he readily obliged.Translation was an issue of course , fan mail is one thing interview another.
The whole process took a month and a half and I have never been so patient in my life!
I wish to thank his assistant GOLRIZ in Tehran and AHMAD ZAKI in Washington DC for helping me out , My questions in English were translated into Farsi and then again Mr Ghobadi’s answers translated from Farsi into English, and much was lost I am sure by way of nuance and word play. Nevertheless I am very proud to present one of my all time favourite directors here.
[ author's note:The language has been left intact and no changes have been made to the translated text ]
Mr Ghobadi Thank You very much for agreeing to this Q n A.
We in India are great followers of Iranian Films as I guess most of the World Cinema audience is.
We are all enamoured and enchanted by what comes out from Iran, the sheer magic that Iranian Film makers weave into daily living and projecting that with such simplicity and candor.With such a turbulent history behind you and great cinematic tradition to emulate,you have managed to hold your own, especially as a Kurdish Director. The first ever if I am right.
Congratulations! on HALF MOON your Fourth film, it was as wonderful as TURTLES CAN FLY, though that remains my favourite.
[ His previous films are A TIME FOR DRUNKEN HORSES and MAROONED IN IRAQ ]
Q1.
How different are your films from the rest of the Iranian Films? In their making and their content? For a lay person, especially a non-Iranian, a Persian, a Kurd, an Iraqi all are quite the same, how do you ensure that it does not happen and that the Kurdish identity remains intact?
BH
This difference should be explained by the theatre critics, but generally speaking I prefer to base my work on stories which we are not introduced and that are not known to people yet.My work is mainly based on my life expereinces and the world that I live in, that is KURDISTAN. Therefore my work is quite different than most of the other movies which are mainly based on the stories from around the cities of Iran. The point that I became a producer and the stories that I had are from Kurdistan, which I wanted to transfer into the screen language, are not mutually exclusive from each other. So I started working in theatre and the stories that I used for this purpose are from Kurdistan.
[ theatre = films and producer = director ]
Q2
Is that why you became a film maker? To tell your stories, of Kurds to the World? How were you initiated into films? When did you start watching them? Was it easy to join film school?
BH
I was watching movies for fun from the time I was very young but I started watching them seriously when I started working in this field.
Q3
You have worked as an actor with Mohsen Makhmalbaf [ BLACKBOARD ] , you were the teacher in that film.You also assisted Kiarastomi [ THE WIND WILL CARRY US ] when he was shooting in Kurdish country, how much did you take away from those experiences and what do you think of their style of film making?
BH
Of course getting admission to the academy was not easy but with some experience that I had with making some small movies became useful and made me able to pass the entry exam for the theatre academy.
I was working for the directors for the purpose of helping them but my objectives were to encourage them to make movies in my motherland – Iranian Kurdistan.This region is very little known to the outside world, I wanted to make movies in the region so I can attract the attention of other movie makers and help expose the real value of this land. I did not turn my face from any kind of challenge in this regard, with the proposal of movie makers I even acted in some of their movies.About their movies I do not have any particular opinion but every actor takes his initiative from some kind of practical life experience.This is upto the people who are watching movies to express with their likes and dislikes which movie they like and which they don’t.
Q4
Though Iran and Technology may seem incongruous, from your well put together website [ www.mijfilm.com ] and from your films we see that Iranians are very much in the forefront of technology, in its usage especially.Can you throw some light on this little known fact?
It was delightful to see musicians in HALF MOON using a laptop for the planning of their journey in a rugged land with no other visible ‘modern’ contraptions .
BH
But are we living in the STONE AGE? Maybe only the people who live in forest or remote areas do not have access to technology.Iran is also not an exception in this case.If you come to Iran right now you will see that we have the best fountains and beautiful places, the only issue is that we are not equal to others using the technology.I mean we do not use it at the right time and the right place.The laptop issue is also not very big, since Kurdistan is sharing a border with Iran, like any other item they are also being smuggled into Kurdistan.But like you pointed out, I just wanted to pass a message through this means that we are not behind from others and the picture that people have in their minds about Iran and Kurdistan needs to be changed.
Q5
Another surprising fact one notices in HALF MOON is the ease with which these mountain musicians are discussing philosophers such as Kierkegaard, is that a common place occurence?
BH
The people who have a laptop can also participate in a philosophical discussion.Leaving the joke aside, your question by itself is very philosophical; you want to know a lot through a small point which is not possible in reality.Let us not forget that judging movies is not easy, they are not made on stories of your next door neighbour that you can say they are right or wrong.
Q6
Poetry and Iran have a long tradition,we have heard of Rumi and the Mevlanas. What about Kurdish poetry, does it have a similar history or is it more recent, is it written in Kuridsh or a mix or Farsi and other dialects?
[ author's note:LOST IN TRANSLATION?? Did not get an answer to this one.........will have to ask again ]
Q7
I wanted to ask you something about Hossein Alizadeh, the composer whose disciple sang for HALF MOON, please tell us a little more about him. Also a bit about Kurdish musical heritage.
BH
Hossein Alizadeh is a well known music teacher who brought a lot of new changes into Iranian music.He also prepared a movie on his struggle in which he shows how hard he is working to bring changes into the music.His feelings towards dramatic music, possibilities in Iranian music paved way for me to work with him in the movie “ZAMAN-E-BRAYEE MASTEE ASPHA”, I also continued working with him for two other movies “LAK-E-PUSHTHA” and ” NEWA-E-MANG”.
Q8
How popular is Indian Cinema? Do you have access to it ? Especially in Kurdish areas?
Do you get to watch movies from other Indian languages apart from Hindi?
BH
Indian theatre has a long history in our country and the reason for this is our long friendship in this field.The recent Iranian movies are being produced in Bombay studios.The Indian movies became less popular after the Islamic Revolution because of their dances and music, still Indian movies are being watched on videos and TV.
Q9
HALF MOON talks of women’s rights, to sing, to perform in public, to participate in the artistic development of a land.Hesho herself is a very strong character.
We see Iranian women as being very bold and resilient, women like Shireen Ebadi or Azar Nafisi for example. Is this a recent phenonmenon due to the political situation or is that a national trait? It is definitely contrary to what people expect when they think of chador clad women.
BH
Anyway when people get over pressurized they show reaction.As far as Iranian women are concerned they have been suppressed and pressurized through so many ways and it is natural that they show reaction but this is also correct that Iranian women are naturally stronger.
Q10
How do you concentrate on your work and manage filming in such hostile conditions? Especially at such a fast pace! You made HALF MOON in what, four months?? From pre to post??
BH
I pointed this out a few times too that the convenience is not a question for me.If I want to make an easy and convenient movie I will feel very uncomfortable.Working in hard condition gives me more confidence of being able to overcome any problem in my life.But the film NEWA-E-MANG which was completed in four months was a special case.It was not prepared and shot in short time for convenience but because of its unique case.This was a specially commissioned movie and had to finish quick.
[ this film was made under the MOZART centenary series ]
Q11
A little about your crew.How many of you made it to the mountains?
Also a bit about the kind of cameras you like to use?
Your lighting choices? Where do you work for your post production etc
BH
The crew of thirty participants in the movie were residing near the shooting place.We arranged this special accommodation so we can have access to them any time they are needed.
In my opinion the Arriflexs are among the best for shooting movies.
With regard to light during shooting I don’t have a special choice, it depends on the circumstances that how much light is needed for that particular shooting but generally I prefer foggy, cloudy and darker environment for shooting.
Q12
In your opinion where is the next wave of films coming from, which country looks promising? Anything you watched recently that you liked and would like to share with us?
BH
Indeed it is hard to predict where the next wave will be and which country it will be in, depends on circumstances and availabilty of political,social and cultural environment to work in.
Q13
A bit about your actors.How do you direct them, especially child artistes? Is it a genetic skill in Iran? Almost everybody in TURTLES CAN FLY is a child!
I believe ‘Satellite’ is assisting you? or making his own film??
BH
It is different to direct each person, it depends on their personalities but I also used a standard prepared guidance to communicate with them during shooting.
Suran is a talented person, he is not assisting me presently but I am trying to help him with his goal of making his own film.
Q14
A Thousand Sighs, a Thousand Revolts” by Christiane Bird. …
This book on Kurds might help readers understand more about what you are trying to say through your films. Any other work you might suggest that would help the cause?
BH
I don’t remember a particular book but a while ago DEVRIM KLIC in “OZGUR POLITIKA”
did a thorough study of my movie “LAK PUSTHA”.He looked at the common points of my movies and exlained them.
Thank You very much Mr Ghobadi and we look forward to watching your forthcoming films [ www.mijfilm.com ]
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Wow KKK – awesome post. It must be a dream come true to run into Bahman Ghobadi and take an interview !!!
Thanks for this :-)
Thanks KKK for sharing the moment with us!
The big question about Iranian Cinema is how come their cinema is so beautiful and yet so simple. What makes them pick up a subject, so subtle from daily life, which does not commonly catch the attention of film-makers around the globe.
= The bigger question to you Manjeet is, how far on a linear plane do you find yourself away from this kind of Persian Cinema. Quite Frankly, KK and Manjeet you should be asking questions based on this interview vis-a-vis your own aspirations in creating movies. If there aren’t any questions, then your cinematic aspirations should and must be questioned by you, yourselves.
What was the last Ghobadi film that you watched and what were your reactions on it? I don’t see any reactions on PFC… would you mind to review his last few movies – both of you Manjeet and Kartik.
Oz: I have been exposed recently to the Iranian Cinema and to world cinema. I have to admit that until recently I had limited myself to Hollywood and selected Hindi films and may be few celebrated world cinema films.
As a film student the question which I asked to KKK is important for me to try and understand how they come up with such simple and moving subjects and brilliant screenplay, which do not seem to exist and go un noticed. It would be very insightful to know the driving force. I recently saw Turtle can fly without subtitles and few other Iranian films. They have made me carve for more!!!
As far as reviewing is concerned I find it a very uncomfortable terrain.
Thank you for this post. Now there is another Iranian filmmaker I can watch. Never seen his films before but now will try to. I love the simplicity in Iranian cinema. If Indian filmmakers want to make a mark internationally, that is the model to follow. Find those deep, personal, everyday stories. Btw, if you have not seen Offside, highly recommended. Superb movie!
Trying to set Turtles can fly as a comparision between their and our so called bollywood film making.(I watched the film without subtitles so please correct if I am wrong).
It seemed like the director wanted to put forth the horrors of war. He used children to tell a story which got beneath the surface by depicting their lives in great detail.
A Bollywood take would be: Its a great subject to make a film on. Lets try to get the biggest name in industry. How about top 3-4 stars, get their dates. Give all of them good important roles. Make one of them a local war lord, one of them local leader, another one a priest, then a lesser known white actor as military commander. Then hire hollywood technicians to make the action scenes look great. Have a bloody warfare. Over the top emotions of people crying, starving,etc.
The end result a loud film, which only touches the surface.
I enjoyed reading the intrerview, but I hate doing this to you time and again.
Tell me isn’t Rumi and Melavana the same guy? Maybe you meant the Mevlevis. No wonder it all got Lost in the Translation. And if you just wanted to drop a name on him, you should have said
Ferdausi.Rostam and Sohrab. or better still Omar Khayyam. Sighting a Beer bar with the name Omar Khayyam isn’t unusual in India.
Also can you put in a different font or color for question and answers. That would make the reading easier.
much to my own shame – i am realizing that there are so many movies that i have never heard of – which are of absolutely must-watch kind. honored to have you here k3. and hazaar thanks for this enlightening post.