Necessity and Invention | الحاجة والإختراع

In this episode of Yasir Alyasiri's (Masmoo) Podcast, Yasir delves into his experience working with the renowned artist Mishaal Al Arouj and producer Faisal Al Issa on the groundbreaking music video "Al Taxi." This unique project stood out with its unconventional lyrics, melody, and performance, pushing Yasir to challenge himself technically, especially in executing an innovative scene that became a centerpiece of the video.

Yasir shares how the quirky yet relatable character of the taxi driver resonated deeply with audiences across the Arab world, leading to unprecedented success. He also discusses the intricate details of the filming process, the preparation involved, and the challenges faced in delivering a flawless final product.

Towards the end of the episode, Yasir gives a sneak peek into the next chapter of his journey, where he discusses his collaboration with the artist Fayez Al Saeed and how he was entrusted with selecting a song from Fayez's album to direct as a music video.

Join Yasir as he explores the creative process, the technical hurdles, and the surprising success of "Al Taxi," offering insights and inspiration for aspiring filmmakers and music video directors.

في هذه الحلقة من بودكاست ياسر الياسري (مسموع)، يتناول ياسر تجربته في العمل مع الفنان المشهور مشعل العروج والمنتج فيصل العيسى على الفيديو كليب الرائد "التاكسي". هذا المشروع الفريد تميز بكلماته، ولحنه، وأدائه غير التقليدي، مما دفع ياسر إلى تحدي نفسه تقنيًا، خاصة في تنفيذ مشهد مبتكر أصبح حجر الزاوية في الفيديو.

يشارك ياسر كيف أن شخصية سائق التاكسي الغريبة والمحبوبة قد لاقت صدى كبيرًا لدى الجماهير في جميع أنحاء الوطن العربي، مما أدى إلى نجاح غير مسبوق. كما يتناول التفاصيل الدقيقة لعملية التصوير، والتحضيرات اللازمة، والتحديات التي واجهها للخروج بعمل نهائي متكامل.

وفي نهاية الحلقة، يقدم ياسر لمحة عن الفصل التالي من رحلته، حيث يناقش تعاونه مع الفنان فايز السعيد وكيف تم تكليفه باختيار أغنية من ألبوم فايز لتصويرها كفيديو كليب.

انضموا إلى ياسر وهو يستعرض العملية الإبداعية، العقبات التقنية، والنجاح المفاجئ لأغنية "التاكسي"، مقدمًا رؤى وإلهامًا لصانعي الأفلام الطموحين ومخرجي الفيديو كليبات.

Transcript

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[Music]

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A song about one of the means of transportation, and when the producer understands, is aware, and is interested in what he wants

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to present, unprecedented success and unprecedented technical discoveries, all these topics and more, we will present them

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today in the seventh episode of the Audible Podcast. With me, Yasser Al-Yasiri, I ended the previous episode

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by recalling a situation that happened in the montage of the artist Rashid’s song. Al-Majid shouted to them when

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the artist Rashid Al-Majid visited me, accompanied by the artists Ahmed Al-Harami, Walid Al-Shami, and Mishal Al-Arouj, and they saw

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the clip and expressed their great admiration for it. The days went by and I released the clips of Anay, meaning I presented them

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in the previous episode, such as the clip “Salam Al-Eshq” by the artist Al-Wasmi and “Aklab Tasaloni” by the

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great artist Ebadi Al-Jar. I received a call when I returned from Syria to Syria. Dubai, from a producer named Faisal

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Al-Issa, and a producer and owner of a company called Smile. The next one, of course, is His Highness Smile TV

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from Kuwait. He called me and told me that I have a song by the artist

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Mishal Arouj, and in sympathy with what happened with the song, he shouted to them and the success that happened with the song, “The Truth, Your Beloved,”

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is a duet between the artist, Faisal Saeed, and the artist. Al-Shami, we want to take you to Dubai and sit down to discuss

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work. So I said to him, of course, welcome. Welcome, and I am Urdu. I was a fan of Meshal Al-Arouj as a composer

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and even as a voice. I mean, a short while ago, it was a song by the artist Nawal Al-Kuwaiti, and he used to sing

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the song with his voice in the last part of it, so his voice was very different. A different material,

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a different way of performing, so I was very eager to have this experience. About a week later, I mean, I

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was distracted by the editing of the song “You Ask Me” by the artist Abbad Al-Jawhar. He surprised me and said

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to me, “We are in the hotel like this. Let’s meet.” We went and sat in a restaurant, and he, meaning Professor Faisal

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Issa and the artist, Mashal Al-Arouj, were sitting and talking. They praised me for the song “Al-Sahih” for them, and they had

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great compliments for a number of the things I did in the clip, and I remember in particular that

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Akko was coming like a Vespa, having fun in front of the camera, so my water was coming on the lens and I was timing it, I mean, and

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the music. They liked this topic because he was a composer, of course, and he understood music, and they liked the

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great success that the song received. Right, Your Beloved, to the artists Fayez Al-Saeed and Al-Shami, so we sat

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talking with them about the project. The project is very large, according to what Mr. Faisal Al-Issa described. The project

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to invest in the artist is not to promote him and release him to the scene as he is. Rather, he is like a

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regular artist who will go unnoticed, and what they meant was that he is in this situation, and according to their comparison,

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and of course. I agree with this analogy. It means it is closer to the style of the artist Ziad Rahbani. The way he sings and

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the way he presents. They prepared me psychologically that the thing you will hear is different. The thing you will hear is different

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from what you may have heard before. I want to have some insight into the type of singing that was different from Nawal Al-Kuwaiti’s

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song, the artist Mishaal Al-Arouj, so it was. I have an idea about how the song will be called Fatoun

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CD before, of course, the means of communication are not qualified to hear a song on your mobile phone with good quality

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, so you need a CD, since we were sitting in the Fatoun CD restaurant, and

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Faisal Issa, the producer, kept talking about the project, and to be frank, it meant that his dreams were sweet and logical, I mean, he... He is a man who is originally

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the owner of telecommunications companies, and for him the language of numbers is the dominant language. He presents the project in the language of numbers

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and a feasibility study, and he sees how he will do it and how he will invest a lot. I was impressed with the method of

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the proposal he put forward and I felt it was logical because it is supported by a study supported by numbers supported by

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his experience as a person who owns companies in the field of communications and the field of communication. Communication and singing were

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very harmonious with each other in that period because it was a service that you asked for a song to become

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a ringtone or your phone ringtone, and people all loved this topic. This means that when you call and someone hears

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a song, this constituted a very important period of time for producers. Of course, in future episodes, I will discuss

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it. I formed important companies with producers, even from Iraq, and it was a very popular business. I mean,

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the two are similar. I thought he was Professor Faisal Issa in this field. I thought

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he talked realistically, profitably, and commercially. To be honest, I was taken by this

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proposition and I was very excited. What I heard was that they were... Like we said, you do something different. They don't have

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a problem with the budget. The important thing is that the work is consistent with the size of the aspirations they have with the audio.

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Okay, so we sat down and drank coffee, and that's it. I got to know them and went to the office. I left the master with

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the song. The song begins as soon as the artist Mashaa Al-Arouj whistles. Then he says, "It's a taxi," and then he sings.

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Al-Kisi, of course, this thing at the time, especially in the Gulf, was not like this openness to vocabulary.

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It could be in Iraq a little bit. We have already mentioned in one of the previous episodes that it is like the song

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“Al-Aqrabah” and other songs by Hossam Al-Rassam. The vocabulary became a little more bold, but in Gulf songs

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after this thing opened up, I heard the song. The song is strange. Words

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, melody and performance, I mean, it's the first time I heard such a combination and I felt it was well thought out to be honest. I loved the song very much

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and I knew this song was going to be a hit. I knew it was going to be a hit for a number of reasons. The first thing is because it is new and different.

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This is one that he is going to put on the market in a competitive and strong way. Two of the names of Meshal Al-Arouj on the

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Gulf scene are going to support this thing. Third, how am I going to coordinate between

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the situation they want to create and a video clip that represents this thing and parallels the song, of course,

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itself? I mean, I sat thinking and took advantage. I mean, I saw the personality of the artist Mashaa Al-Arouj when we sat with him.

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A little character with a kind of comedy and fun, so I said I use this with the character itself,

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and I said I use the topic of the taxi itself, which is the means to convey several different situations in

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society. A father wants to go to his daughter’s graduation party, and the singer

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, who is the artist, wants to go to his girlfriend to the airport. A boyfriend has a dinner date, and oh his girlfriend,

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and he’s late for three. These are parallel stories in different times, with the same taxi driver and the taxi driver.

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I knew that he had to be a very important element and host, because he is almost the only one who

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appears other than the artist, because he is the one who is present with the three characters. He passed by changing the taxis. I replied, making him one taxi

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with one character, so that I would not get out of the song’s format and it would be easier. The jumps and movements between situations

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, especially the words of the song, address the taxi as a person. I mean, I wanted the addressee, who is

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the taxi, to be one person. Before 2005, when filming the song “Al-Aqrabah” by the artist Hossam Al-Rassam, he was one person

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, and he was on the com pars, dancing breakdancing, and he always came to me with casting more than once and twice,

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and he had a very special personality, I mean. He's like this , you know, his name is Mohamed Al-Majaida. For the Scorpio song,

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I chose him to be the first contestant before Hossam Al-Rassam to sing an Egyptian song. He also

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had the shape of Gaida, his hair, and a distinctive shape. So I made him and the boy, and by God, he looked creative, I

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mean, until he became a character for the song itself, so I said, but it's this. The taxi driver replied, “Mjayda,

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” Muhammad M. Jayda, and of course, during the period between the scorpion and the taxi song, he worked,

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“Weana” broke dancing, and “Weana” then worked as a production assistant, and little by little, he became a director in the department, after which

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we will reach, I mean, to some extent, God willing, he became a director in a year. The suffix means

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a person who is very impulsive and honest, loves his work and is very passionate, meaning he does not have anything

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impossible, he does not have anything difficult, so I chose the character, I chose the clothes, I chose the clothes, I chose the closest thing

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to Bob Marley. At that time, a movie was coming out called War of the Words, Mal Tom Cross, directed by

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Steven Sperber, and it was Aku. The scene of them crashing into the car and moving inside the car, and the camera

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is almost 360 degrees, rotating around the car's wheel, of course, with great fabulous techniques, I mean, something that is difficult

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to even understand that what happened, and at that time, in those years, it was that when we saw any of

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her scars on the head, we said, by God, graphics, no, it was the technology and technique of photography and use.

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The equipment is still available, meaning it is supported in a simple way with graphics, not like what happened now. Almost

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everything you can do with graphics, and God knows, in the coming days, everything you can do will happen

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with artificial intelligence, that is, so the shot remained in my mind, so the most important thing I wanted to do

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with the song in the scene was that it was the car. You are walking in the street and the singer is singing and the camera

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is moving 360 degrees on the car on the taxi and he is walking. Hey, how are

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you going? We know. Of course we have a technology that we have been using for a long time. People call it a low loader or

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a car trailer, which is a billet part or an iron piece that has tires that is attached to another car for towing.

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From the front, and you leave the car you want to photograph on it. It will be towed by the car

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in front of it. I mean, in reality, it will not walk. I mean, like a recovery car, when it is damaged, they leave it

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with another car. But it will come to a little corner, so you will have a space to leave the lighting. You will have

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a space to leave the camera. The camera position is yours. It will be more comfortable. Your communication with the artist or

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actor will be more comfortable. This technology is available, which is a low-loader or a car trailer.

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But how am I going to do 360 degrees? I kept thinking, what is

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the technology that I can do? Of course, we sat down and wanted to attend. I had specific requests. I had

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the taxi, and I wanted to. It is like New York taxis, which are yellow and have such

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a white stripe, like chess. It was very important so that it would be visible to the dog, so it would be

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prominent. I mean, in that period, I mean, clips were always escaping from realism. I mean,

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things always seemed exaggerated. I mean, there was nothing realistic to connect them. I mean, for example, you don’t have to. The street

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would be Dubai, so the taxi would be Dubai. No, no, on the contrary, I mean, the bitches relied on exaggerated things

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, and they could be a combination of several other things. The important thing is that the visual result is what is important,

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so I want to get the car. We fixed it, I remember to paint it, and then we made

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a sticker. We kept it for a while until I got the exact shape that I wanted. I mean, we prepared all the

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other things. We prepared the filming locations. We had a little problem with the permits. I mean, I filmed in the

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most important streets in Dubai. And whoever knows the Emirates and knows Dubai, the main street is called Sheikh Zayed Street,

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and this is one of the most crowded streets and overcrowded with people, so I wanted to film in it, God willing,

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I would go around the plain. I mean, Hey Oouridi had a stage until we reached it,

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and then, of course, the casting stage, because this time I have strong acting from more than one person. This time

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there are three cases, and the three cases in it mean two characters and the other than the taxi driver, which Oouridi is.

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I am reassured that Mohamed Al-Majaida did a wonderful job, so I started. I did the two-cast stage.

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I chose the characters. I chose the places. I had to be smart. It was true that I filmed for two days, but I had

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to be smart. The places should be close to the next person. I mean, for example, the house where the girl is waiting for her father

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to go to a graduation party. I mean, preferably in the same hotel that has a restaurant, for example. It would be

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My girlfriend is sitting, and these places must all be visually compatible, even though what I want to do is

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with the color pallet that I explained in one of the episodes. The color coordination I want to do and choosing

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the right places. This stage takes time until it is 100% perfect. We found all the places

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and prepared all the things. I chose the crew and I chose the cast. Things are now, I have

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one thing that I know, that I want to film the 36th movement, a camera that moves in a full circle, turning

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the car around, and the problem is that in the second or third meeting, producer Faisal

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Al-Issa and the artist Mashal Arouj, I told them that I will do this shot, and I always have a job

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of covering myself with something like What they say means that I involve myself in order to challenge myself until I come up with something.

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It means that I always experiment, always under pressure. Maybe I am my type and I don’t know the other types of people, but

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under pressure and challenge I get more creative. So I told them that I will do this thing in the clip, and at

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the time I said this thing I did not know that. Will I be able to do it or not at all? I mean, but

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I said it so that I would initially involve myself in it and so that I would have to do it and challenge myself. And of course, always, even

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in my subsequent work, I always use this starting point. I mean, I get the maximum and say, “I will do it,” and I concluded

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that how will I be able to do it? This is a journey of searching for possibilities and techniques that

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I must do. I take it day and night until I achieve this thing. I always try to get myself involved in front of people, in front of

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a client, in front of a producer until I actually do this thing, so he finished. This means he was forced to do this

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shot, so everything was ready, but this shot sat at night and I was thinking. I said, “Zayn, why should I leave

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the camera?” Why don't I leave the car? It's looking at the car on the loader or

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the car trailer. It's looking at it, but my problem is that the space in the loader or inside the car

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trailer is limited, meaning it's almost larger than the car, for example,

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by a meter in front and a meter behind, so it's not enough that the car will be destroyed. The crazy thought

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that came to me on the second day was the first day I was filming the car. The scenes where

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the car was driving on the street, they were getting into it, they were going to the shots, meaning those from the outside in general, and the second day. I

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always said before that I always had a break between the two days of filming, so as not to leave them alone, so I have

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a day’s break on this day, so we take the car. For the industry, and we divide it by half, meaning we remove almost

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the entire windshield and body, so half of the car remains.

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[Music]

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So the space of this is the only solution, meaning there is no solution. And this shot is the one that I am telling

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the producer to, and this shot is what I would do. I would do it if I didn’t know what would happen. It is the clip shot, I mean.

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By God, we kept thinking and kept drawing. Everyone said his work was finished. We reconciled, and the topic is that

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we divide the car in half. We went to the factory and talked to them. Is it really true that if we finish filming, for example,

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at night, we give it to you. You have half a day to work over night, and then the second day it works, you hand it over to us,

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for example, the third day, for example, in the afternoon, meaning according to the schedule. The filming that I and the assistant

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director did, we caught the part of the car, telling the second person that the car will always break down.

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When we want to separate something, we use something called ringing table. This is the table that turns around. I mean

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in Arabic, but it carries simple tasks. I mean, it can carry a maximum of two people. I mean, but it doesn’t.

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You are carrying a car, so we suggested that we bring the wheel of a car, and for this drive, we make an iron stake with it

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. This stake will be welded to the base of the car, and the part of the stake that is in the drive will be rotating around its circle,

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which is urine renz or purine. They call it in the Iraqi language, so until it rotates, it will be, of course, meaning oiled

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and lubricated, until it becomes our joy for Abu Al-Sana’iya. He said, “By God.” Yes, it's possible, but how will

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I gain this weight? I don't know what. He told me it's difficult, of course, until he takes more money. I mean, sure. So we told him, okay, that's

0:16:54.639,0:17:00.639
it. So we agreed, so I wanted to film the song and film this song, of course. I filmed it in cinema and filmed it

0:17:00.639,0:17:05.160
at 16mm because I had shots that I knew were long, especially this one of the car that escaped.

0:17:05.160,0:17:12.439
It's complete, and I am making it more difficult. I want her and the car to turn 360 degrees. I can cut between

0:17:12.439,0:17:18.319
three characters in the same amount of time. Of course, this is without the motion control technology, which I will

0:17:18.319,0:17:23.880
explain later in the clip. The clips I used extensively without this technology are very difficult to adjust because

0:17:23.880,0:17:29.280
it has time and speed, so it's almost impossible, but I got involved. The same increase and I said I will do it, so

0:17:29.280,0:17:36.880
I ran away to do this movement in this way. I was confused that it was used because it is raw 16 MM, as I explained

0:17:36.880,0:17:43.480
before, longer than raw 35. This is approximately 11 minutes, and that is only four minutes. I do not want to do

0:17:43.480,0:17:48.960
half of the movement. I want to make sure that the movement is complete. I am afraid. It makes mistakes. I go back a

0:17:48.960,0:17:54.520
little while ago. I don't have to stop and fix the reload of the raw materials. Of course, this takes time. I didn't want to get into these problems.

0:17:54.520,0:18:01.600
So we started photographing. We photographed things. The personality of the artist, not the character of the axis driver, as I responded. Exactly

0:18:01.600,0:18:06.760
as I responded. At the beginning, he had it. I mean, he had it. The artist is not

0:18:06.760,0:18:12.640
arrogant. He has a little problem with acting. A little bit. These things became easier for him. You broke down the barriers. You made it happen with

0:18:12.640,0:18:18.679
Ola. You made it happen with a relationship between him and him. He had a relationship with Jaida, who was the character of the taxi driver, since

0:18:18.679,0:18:25.000
they were sitting for 24 hours, almost together. I mean, he started taking his rest. He started taking pictures of us.

0:18:25.000,0:18:31.320
Photography means one thing after another, one thing after another. We finished filming today, first on Ali Salam

0:18:31.320,0:18:38.120
We took the car to the industrial factory so that it could be divided by text. It would come on the third day, which is the second day

0:18:38.120,0:18:43.919
of filming, so that we could film with it. This day, I brought the car in part. I was happy at the time. I was eager to be

0:18:43.919,0:18:48.200
honest. I said, “Zain, let me take advantage of the fact that they divide by text. Let me leave the camera in places that

0:18:48.200,0:18:54.200
are difficult to leave. For example, I left it behind the brick.” I mean, from the inside like this, from the outside, it means

0:18:54.200,0:18:59.720
it is impossible for the camera to let it go at all. The camera is the Four Ground Break,

0:18:59.720,0:19:04.880
which means it is the Four Ground, but we are behind us and we see the driver’s foot stepping on it

0:19:04.880,0:19:09.880
or getting down, for example, tying his shoes. I mean, I started to exploit the issue a little. Of course, the production director did not like

0:19:09.880,0:19:14.840
Abu Katha because he is... In his mind, I was going to use it on this one, which is the rotation, meaning, or

0:19:14.840,0:19:22.000
the 360-degree turn, so he took it down and took it for photography. They came back a second time, they installed it, and we went to an area. We chose

0:19:22.000,0:19:27.480
a street at that time that was supposed to be considered not crowded, next to Dragon Mart or the Chinese market in

0:19:27.480,0:19:32.840
Dubai. It was a new dimension, so people were not going to it. This street is considered a blessing when I

0:19:32.840,0:19:38.280
go and come and see it empty, so I felt that it is one of the appropriate streets that I would take pictures of paralyzing it so that it does not

0:19:38.280,0:19:45.240
become crowded, but of course, when we left the car divided by the half that turns 360 degrees on

0:19:45.240,0:19:50.679
itself on a car trailer tied to another car, that means all of Dubai’s cars gathered on us, and this is

0:19:50.679,0:19:55.679
a problem. Because they show, how can I control myself and have to cross the street? It is fine. If I cross the street, it appears

0:19:55.679,0:20:01.120
empty. I mean, it was difficult, and the people were standing there, filming, watching something strange. I mean, you are walking

0:20:01.120,0:20:06.919
in the street, except that you see a camera, photography, and lighting. You do not see a car divided by half, and it turns away, so

0:20:06.919,0:20:13.039
I kept the camera fixed from the front, and the car is the same as the one. Let the production assistants

0:20:13.039,0:20:21.200
push the car in a certain direction. I remember, I think, counterclockwise and at a certain time, because he would

0:20:21.200,0:20:28.760
use it with different characters and cut it, so we put it together once. It was difficult at first, of course, then

0:20:28.760,0:20:34.440
it was a third thing. Something would go wrong. For example, the artist would make a mistake, or the actor would make the character of the Alexi driver

0:20:34.440,0:20:40.440
to be one. For example, he would take pictures from behind the car, meaning the usual problems. Until

0:20:40.440,0:20:47.120
I took the video that was set to a timer with cuts, I took the full shot, I took

0:20:47.120,0:20:52.240
the medium, the medium close, I removed the singer, I got the second characters, I did the same movement, two

0:20:52.240,0:20:59.200
during the day, one at night, I mean, it was a little bit, not easy, but I mean, it's technically easy, maybe.

0:20:59.200,0:21:05.159
The camera was fixed and the lighting was fixed, but of course, Ahmed Kardous, the director of photography, then there were

0:21:05.159,0:21:09.679
certain things until it became clear that the car was actually sitting on the lighting moving. Of course, whoever watches

0:21:09.679,0:21:14.960
the clip now will see that the camera fades away, and this is what is beautiful in cinema. The deception that you create

0:21:14.960,0:21:20.320
with what is visually conveys something different than how you implement it. It is one of the beautiful things in cinema that

0:21:20.320,0:21:25.200
I love. Of course, it happened with this clip. We preferred to film several scenes with

0:21:25.200,0:21:32.080
the 360 ​​rotation. The producer was sitting on the monitor and he saw that he liked the topic. The clip felt so good

0:21:32.080,0:21:38.400
that it would reach a point where it was beautiful. Yasser had told me if we were filming the third day after what could we do?

0:21:38.400,0:21:42.760
I told him that we can do anything, but I am in the script, but Hashi did not attend. He said, “I don’t know, but I see that this

0:21:42.760,0:21:48.360
clip will be successful, and I don’t mind paying more so that we can film on a third day. What are the things

0:21:48.360,0:21:54.600
that we can do that will add the clip?” So I kept thinking in a hurry while we were sitting, and from

0:21:54.600,0:21:59.200
experience. Previously, I did it with the clip of the artist Wasmi Salam Al-Eshq. I used female dancers.

0:21:59.200,0:22:05.159
I felt that it had a special addition to the clip, so I told him that we can do it by using the same theme

0:22:05.159,0:22:13.400
and style that is the New York taxi, and so on, and get a bus, a zero-hour bus, from which the female cheerleaders or

0:22:13.400,0:22:19.760
cheerleaders get off and do dances, and oh, the song. He liked the idea. I went, of course. The director, Entaj,

0:22:19.760,0:22:25.279
told him that we will add a third day. He was very confused, of course, because it was too late to finish, and now we have to

0:22:25.279,0:22:31.520
go back to the people who came from abroad to book for them and change their travel tickets and all that stuff. I mean, he was not very happy

0:22:31.520,0:22:37.480
with this decision, so we finished the third day, and of course I started to go to the point that it was the

0:22:37.480,0:22:43.279
third day because We've had about two days, we stopped for a day, and then a third day. I added things and left a

0:22:43.279,0:22:49.039
traffic policeman and the traffic policeman doing some comical dance moves, and people sitting on the streets and making it

0:22:49.039,0:22:56.039
crowded. I mean, I did, like what they say, spices or spices for the situation that I wanted to

0:22:56.039,0:23:02.080
photograph, and I had plenty of time, I mean. I have a full version now, but the paragraph is correct. It contains

0:23:02.080,0:23:08.520
cuts and a number of scenes, but it is almost a group of cheerleaders getting off the bus and doing

0:23:08.520,0:23:14.880
dances in harmony with the song. I mean, I started adding to it and photographing us, and the filming was less tiring and

0:23:14.880,0:23:22.120
stressful than filming the first and second day, and we finished and we were comfortable. Al-Aroj walked away

0:23:22.120,0:23:28.720
comfortably. The producer is satisfied and I am happy with what I did. I felt that what I wanted to do was compatible with the song

0:23:28.720,0:23:35.320
I had. I wanted to know that it would succeed, so I was reassured about this thing. I mean, as usual, I

0:23:35.320,0:23:42.080
traveled to Lebanon and did the development in Lebanon and then did the miter, which is converting the

0:23:42.080,0:23:48.760
acidized raw material into digital and coloring it at the same time. I got it in Lebanon, I got the material and I produced it. I started

0:23:48.760,0:23:55.080
to produce it. I mean, the natural one I was thinking I would produce with, while we were still producing.

0:23:55.080,0:24:02.480
Ayham Al-Kuntar and I had a clip before that time. The artist’s name was Ayo. She’s African,

0:24:02.480,0:24:10.880
but she sings in English. I mean, they used split screen in a nice way, so I liked this.

0:24:10.880,0:24:16.279
The style is different, so I thought about which one, so I told him that I think we can use the same method, but

0:24:16.279,0:24:22.000
of course, we will agree and make it different for the clip, which is not ours because I saw that I want to discuss three

0:24:22.000,0:24:28.360
cases simultaneously with each other. Okay, the time is different, but in the clip itself, it comes out in one format, approaching the

0:24:28.360,0:24:34.960
arrangement of three characters. It felt like a split screen. This will convey this feeling in a wonderful way. I mean,

0:24:34.960,0:24:40.760
of course, I agreed, and we sat down to repeat the montage that we had made in Urdu, and we started to do split-screening,

0:24:40.760,0:24:46.760
and we used the worst exploitation. I mean, we made it several times higher than what I did in the clip. We wanted

0:24:46.760,0:24:51.559
to exploit it and do it with movements, and the most important thing is that he is good at editing, and he is also good at after

0:24:51.559,0:24:57.279
effects, so he was. He didn't have a problem with the subject, so he fixed all the movements and we used the subject with a split

0:24:57.279,0:25:04.039
screen, which is the main nerve of the song. He finished the song. He saw the producer and was very happy. He saw the artist

0:25:04.039,0:25:09.640
Meshal Al-Arouj and he was very happy. The song was released, and behold, the song was a time bomb

0:25:09.640,0:25:16.880
that literally shattered the world. I mean, all the people are talking through the song, and what's beautiful about this song is that

0:25:16.880,0:25:23.320
people are talking through the clip and without it. It was as if they were together and they had a magical attachment to the character of

0:25:23.320,0:25:29.240
the taxi driver, who was different from her. The song was an amazing success. I mean, there is no place I would go if

0:25:29.240,0:25:34.760
they didn't talk about it. I traveled to hobby countries, for example, sitting in a rich place. They had to sing the song and do

0:25:34.760,0:25:40.039
movements close to what we put in the clip, so the clip was, I mean, before God. It has a very big impact

0:25:40.039,0:25:45.799
. I mean, these days, I'm sorry that I see many times when artists and production companies release a video clip

0:25:45.799,0:25:53.640
and write the name of the artist, the lyrics, the melody, the arrangement, the sound engineering, and they don't write a director. I mean,

0:25:53.640,0:25:58.720
in my time, it's considered a disaster. I mean, because the director was the final say, I mean, what's on the subject?

0:25:58.720,0:26:04.279
These days, I don't even know how the directors are. They accept that when it is officially released, their name is not written

0:26:04.279,0:26:09.039
in the post. I mean, okay, it is written on the clip, but I mean, the director is the most important element. This is one of

0:26:09.039,0:26:13.960
the cases that bothers me when I see everything. I mean, the important thing is that the song hit, it broke the world, it succeeded, it was

0:26:13.960,0:26:20.000
an unprecedented success. It actually achieved the goals that we wanted to achieve. It presented the artist Meshal

0:26:20.000,0:26:28.799
Al-Arouj in a new condition. And it is different in the arena, Faisal Issa used the topic as a brand, production

0:26:28.799,0:26:35.399
and marketing compilation in an impressive way. The song spread in the Gulf and the Arab world. I mean, perhaps it was one of

0:26:35.399,0:26:41.039
the first songs that when I went to Egypt after a while, people talked about the song and knew the song.

0:26:41.039,0:26:46.919
I mean, it really spread, very wonderful, and I was very happy that I was able to do it. The move that I challenged

0:26:46.919,0:26:53.279
myself with, which is 360 with almost a technique, I discovered it. I don’t know if people before me did it

0:26:53.279,0:26:58.840
or not. To be honest, I mean, it is one of the daughters of my ideas. The success of this song made the artist Anay

0:26:58.840,0:27:04.679
Oreidi deal with him before he got excited about dealing with me more, and he is the artist Fayez Saeed, the artist

0:27:04.679,0:27:10.320
Fayez. He was happy then and of course still is now. He was of course an ambassador of melodies and he was one of the most important composers

0:27:10.320,0:27:15.480
in the Gulf at that time. I mean, the most important thing is that there was almost no one else than him. Artistically, as a singer, he had

0:27:15.480,0:27:21.760
successful works and important clips, so his name was especially important to me. I am in the Emirates. It is very important for me to deal with him

0:27:21.760,0:27:27.240
correctly. I dealt with the song “The Truth is Your Beloved” duet. With the artist Wali Al-Shami, but what I dealt with him

0:27:27.240,0:27:34.120
in particular was that she remained very professional during filming. Immediately during the filming of the taxi song, the artist Fais Saeed called me

0:27:34.120,0:27:41.640
at four in the morning and said to me, “Where are you?” I told him, “Where are you?” What should I say? I told him, “I am asleep, so he said, ‘

0:27:41.640,0:27:47.080
You can go to the studio.’” I told him, “Okay,” and she left. They said, "I went

0:27:47.080,0:27:54.720
to the studio. He sat down and told me, 'I'm going to listen to you. What's your new album?'" I told him, "Okay, so we heard the

0:27:54.720,0:28:02.320
whole album. Then we got out in the car. We heard the full album a second time. I mean, it took time,

0:28:02.320,0:28:06.679
about two hours, three hours. I mean, we went out in the morning and we were in the car listening to the album. He said, 'Yes,

0:28:06.679,0:28:12.600
that's the album. After it came out,' he took the album. Okay. And you." I choose the song that I am going to film.

0:28:12.600,0:28:19.320
This was the first time that he was an artist giving me a collection of songs and telling me to choose the song. You are filming it.

0:28:19.320,0:28:24.200
He is not the one who chooses. The artist always comes sure, meaning he knows what song I am going to do, so

0:28:24.200,0:28:30.880
he gives it to me and I go film it. It is a responsibility. To be honest, I loved the topic. At the same time, it is a responsibility

0:28:30.880,0:28:36.399
because now it is the success of the song. The audio has become my responsibility because this is my choice. This

0:28:36.399,0:28:41.320
song, people, is the one that represents the upcoming Face Saeed album with Rotana. This is the one that

0:28:41.320,0:28:47.279
Yasser chose. It is a great responsibility. I mean, frankly, Faye Saeed, I always used to say, I tell him, “You are with me.”

0:28:47.279,0:28:53.600
It means a problem with a double-edged weapon. You can trust everything in return. But this depends on the return.

0:28:53.600,0:28:58.799
When you always surrender yourself to the person in front of you, you do not know how the person in front of you will deal with it. He is the artist,

0:28:58.799,0:29:04.440
so he is happy from this standpoint. This means a beautiful literal thing. He knows that this person is

0:29:04.440,0:29:10.080
his job. So I give it to him and he will do the best with it, but unfortunately it is possible to expect. Sometimes, in the hands of people who

0:29:10.080,0:29:16.240
do not appreciate this important thing, I took the album and started listening to it with all responsibility, and a very heavy feeling

0:29:16.240,0:29:23.600
for Al-Ataqi that he chose the best song and filmed it. I kept listening to the album. I started a journey, and,

0:29:23.600,0:29:30.720
artist, Weiss Saeed, a long journey of friendship, adventures

0:29:30.720,0:29:37.559
, productions, and great opportunities that were given to me because of him. I will mention in the upcoming episodes and he left.

0:29:37.559,0:29:41.799
I remember in the next episode the trip to film the song that I chose and what I will say. What is

0:29:41.799,0:29:47.919
in the next episode? What exactly did we do with it? It was a song. I mean, God willing, it broke the world.

0:29:47.919,0:29:55.919
I hope that what I have provided will be of benefit to you. May you always be well. Thank you very much