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Q&A with Bahman Ghobadi for Passion for Cinema KurdishCinema.com - November 26, 2007 by, Kavita Kasturi * PFC: 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? Ghobadi: This difference should be explained by the film critics, but generally speaking I prefer to base my work on stories which we are not introduced to and that are not known to people yet. My work is mainly based on my life experiences 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 them into the screen language, are not different from each other. So I started working in film and the stories that I use for this purpose are from Kurdistan. PFC: 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?
young but I started watching them seriously when I started working in this field.
(Blackboard), you were the teacher in that film. You also assisted Kiarostami (The Wind Will Carry Us) when he was shooting in Kurdistan, how much did you take away from those experiences and what do you think of their style of film making? Ghobadi: 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 film academy. I was working for them 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 exposing 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 up to the people who are watching movies to tell with their likes and dislikes which movie they like and which they don't. PFC: 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!)
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 mountains 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 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. PFC: 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 occurrence? Ghobadi: 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. PFC: 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 Kurdish 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.) PFC: 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. Ghobadi: 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." PFC: 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? Ghobadi: Indian films 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. PFC: 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 phenomenon 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. Ghobadi: 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. PFC: 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?? Ghobadi: 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. PFC: 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. Ghobadi: 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 Mark 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. PFC: 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?
which country it will be in, depends on circumstances and availability of political, social and cultural environment to work in.
child artistes? Is it a genetic skill available only in Iran? Almost everybody in Turtles Can Fly is a child! I believe 'Satellite' is assisting you? Or making his own film?
personalities but I also used a standard prepared guidance to me presently but I am trying to help him with his goal. PFC: 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? Ghobadi: I don't remember a particular book but a while ago Devrim Kilic in "Ozgur Politika" did a thorough study of my movie Turtles Can Fly. He looked at the common points of my movies and explained them. Thank you very much Mr. Ghobadi. * Kavita Kasturi: www.passionforcinema.com - Passion For Cinema - 20 April 2007 |
