Yasir Alyasiri's Masmoo | مسموع مع ياسر الياسري

The Path of Return | مسار العودة

Yasir Alyasiri Season 1 Episode 14

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In this episode of Yasir Alyasiri's (Masmoo) Podcast, Yasir reflects on the sense of nostalgia and longing to return to the world of filmmaking and drama, even as he continues to achieve success in directing music videos. Yasir shares his journey of starting to write and develop a short film, only to pause the project while struggling to choose the right title.

Yasir then dives into the creative and technical challenges of working on a music video with artist Mansour Zayed, where he took on the ambitious task of shooting the video in one continuous take. This bold experiment pushed the boundaries of his directorial skills, creating an exciting and visually captivating project.

In a surprising turn of events, Yasir reveals how he later submitted his short film script to the 2454 Foundation for support and production—an unexpected decision that reignited his passion for filmmaking.

Join Yasir as he explores the ups and downs of balancing his love for cinema and music videos, offering valuable insights into the creative process and the pursuit of new challenges.

في هذه الحلقة من بودكاست ياسر الياسري (مسموع)، يسترجع ياسر شعوره بالحنين والرغبة في العودة إلى عالم صناعة الأفلام والدراما، على الرغم من النجاحات المتتالية التي يحققها في إخراج الفيديو كليبات الغنائية. يتحدث ياسر عن بدء كتابة وتطوير فيلم قصير، لكنه توقف عند اختيار الاسم المناسب لهذا المشروع.

ثم ينتقل ياسر للحديث عن التحديات الإبداعية والتقنية التي واجهها خلال تصوير فيديو كليب للفنان منصور زايد، حيث قرر تصوير الكليب بلقطة واحدة متواصلة، وهو تحدٍ جريء دفع بمهاراته الإخراجية إلى أقصى حدودها، مما أسفر عن مشروع بصري مثير ومميز.

في خطوة غير متوقعة، يكشف ياسر عن قراره لاحقًا بتقديم نص فيلمه القصير إلى مؤسسة "توفور فيفتي فور" لدعمه وإنتاجه، وهو قرار جاء بشكل غير مخطط له ولكنه أعاد إشعال شغفه بصناعة الأفلام.

انضموا إلى ياسر وهو يستعرض تقلبات العمل بين عالم السينما والفيديو كليبات، ويقدم رؤى قيمة حول العملية الإبداعية والسعي الدائم وراء التحديات الجديدة.

Support the show

Thank you for tuning in to Yasir Alyasiri's (Masmoo) Podcast. If you enjoyed this episode, please subscribe, rate, and leave a review on your favorite podcast platform. Don't forget to follow us on social media for updates and behind-the-scenes content. You can find us on: 

For more insights and exclusive content, visit our website at https://masmoo.buzzsprout.com. Join us next time as we continue exploring the fascinating world of filmmaking and storytelling. Until then, keep creating and stay inspired!

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[Music]

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Love is only for the first lover. Passion is not just a dream. It is the path

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of life. Every idea begins with a blank sheet of paper and ends with a beautiful adventure.

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Now is the time to make a star. All these topics and more. We will discuss them

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in episode No. 14 of the Audible Podcast. With me, Yasser

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Al-Yasiri, in the previous episode we touched on the topic of photography. A song that was performed by the artist Shad Hassoun in

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the city of Tire in Lebanon. How was this work very important for me because through it

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I was able to discuss a case that was specific to and related to my childhood in Baghdad in Iraq? We discussed all the difficulties that

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we faced and the challenges, and with all these things, how were we enjoying it, especially since I was filming? This

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work and work then went on to become a very, very impressive success, and he received awards as a hobby.

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I mentioned it in the previous episode. The work was about to start, meaning in the year 2011, so I had a year after year and a little bit of experience with

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the series. It is difficult to talk about, and it was during this period, as I mentioned previously, that I was always confused

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between... I want to continue with the drama or continue with the video clips, and the two honestly

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loved them, but I have a greater obsession with drama, cinema or television, because the work I did

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in it is the most difficult to talk about. It is not what I aspire to, and what I want to do, and what I want to do

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drama, so I remained on a journey that I want to try to write, that I am working. I am going to do something with my friend, the writer

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Muhammad Al-Hammadi, and we put forward a group of ideas that we want to present through

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dramatic work, and we faced difficulties, and I talked about them in the episode. I think episode No. 11 of the podcast.

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How is it that the atmosphere in this field is completely different from the atmosphere that I usually

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live in? In the field of video clips, how can there be businesses that can be made, not even successful at all? Or

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their goal is not to be successful, and there are jobs that involve business, and there are jobs in it, which means a very large amount of money, so it was

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a different world for me, and I did not like it at all because it is not based primarily on creativity 100%,

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I mean, or this, unless I recover. I mean, at that time, despite the fact that I was going or returning to the world of clips

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again and the successes I achieved after this return, I always thought that I did not

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have to go back to school, I had to do something drama, I had to do something cinema, but

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of course, given that the place I live in is

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the United Arab Emirates. The United Arab Emirates and the Gulf in general, there was no cinematic trend at that time,

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but of course there was a big cinematic trend through the festivals that were taking place in the

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United Arab Emirates, such as the Dubai Film Festival, the Gulf Festival in Dubai,

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and the Emirates or former Middle East Festival in Abu Dhabi,

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but that means that there were no productions because There is no cinematic industry, there is no cinematic investment that grows

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and returns a return to the producer. Whoever presents one of these works, and the Dubai Film Festival in particular,

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God signed. I mean, how can I say? I mean, God has a special place in

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my heart, because from the beginning, all the way back to 2005 and 2006, I used to go regularly. Of course,

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my older brother preceded me there. Nour Al-Yasiri, frankly, is what inspired me to go

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to the festival, and when I went, I saw a world completely different from anything I could know. Of course, I have loved

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movies since childhood, and movies are the reason in the first place that I headed

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to the world of the world I am in, meaning what is making films or directing video clips

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. I started with, and to be more frank, to be frank, our comfort with the festival was to

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celebrate it and celebrate it more than what it was, meaning to benefit

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from the things that happen at the festival, from the workshops that can happen there,

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the lectures, I mean, we were focused on the main film that is presented there, and usually this

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film is not meant to be accompanied by a party. They call it the gala party behind the film, and there

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they gather to make the film, to make films from the region, and to invite filmmakers from all

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over the world. I mean, it was a festive atmosphere. I felt it had nothing to do with it, at least.

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I mean, from 2005 or 2006, I went until 2011. I felt like I had five, six years. I go

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to this festival and I always go. I mean, I am interested in what I will wear, what I will do, and what I will see, but I am not

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interested in what I will do with participating in this festival. In this year, which is 2011,

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I remember that when I went to the festival, I mean, there was more than one film that I came up with from the script. I mean, I'm bored

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that I'm an observer and not a participant. I mean, I just watch and there's talk, of course. I mean, about the party that

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takes place behind the movie, but of course most of this talk doesn't get carried out. I mean, people only get excited at the time of the movie,

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and then when we go back to talking about the same topic, the topic is gone and no one will continue. It

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does not do it at all, because in this particular year, I got bored. I said, Okay, after that, I mean, I have to

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be a participating element and not an observer, but I mean, I went back to Muhammad Al-Hammadi and shared with him that I mean

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this topic, what is the matter with me and how? I want to take a step forward, that it is the best thing I can participate

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in. These festivals and I reminded him of the era in which he was, I mean, in his beginnings, he was writing

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short films, so I told him, “It means you don’t have it.” It means a certain project is in the drawer, as they say,

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it means you have it, and of course, it means it’s my hall, and, Muhammad Al-Hammadi, this is almost daily, meaning even

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away from the festival, we used to sit in our company. At Dubai Voice Company, we discuss films in general,

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the productions present in films that we may have seen at the festival, for example, or films.

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What is new in cinema, the serials that have always been released, means an intellectual base with which to discuss

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these productions, and it means we reflect our opinions and constructive criticism, or criticism that we

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are upset that we can do better or better with existing, very beautiful works, and we are

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jealous that we want to do something similar, so Muhammad told me that I have an idea. I mean, I've had it for a long time

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and I want to present it, but I haven't written it yet, so I asked him what is this idea? He gave me

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hobby ideas and told me about many ideas. I mean, there were two ideas that I liked out of the ideas he said,

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the one I chose. Of course, I won't say the second idea because maybe one day

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he will fix it. Maybe. One day I won't do it, God knows best, but the two ideas

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are nice. The one I chose is two friends on a trip from the village to the city by road,

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meaning they are sitting on a bus. This bus takes people between the village and the city and

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they have adventures that are more like the adventures of Fantasies and Eco Toast. It happens at the end of the film

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that I loved, I mean, I loved the idea. I said to him, “I think, here I mean, this is what I want to present now,

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I mean, I feel,” and he said to me, “Okay, I will start writing.” And he actually wrote and brought me the first script. We sat down

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and worked on it. We said that this must change, this will be added, and this will happen. I mean, we settled the things

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that The normal work that I do is based on the script until we have reached that it is a good script

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for a short film. Why a short film and not a long film? I mean, for the reasons I mentioned a while ago, it is

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the place I live in and the geography I live in, even if it means Iraq is a part

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of it. I mean, but the Emirates, the Gulf, and Iraq. Frankly, let us say that the Arab world

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is not considered to be a cinematic industry, and the cinematic industry means a circle or ring of

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things that must be present. The first thing, of course, is the material element, then the execution

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and production, and then an element that means that the film is shown in cinemas and distributed, and then this film

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brings in money that the producer earns by making a film. The first thing you will return money to and win them is that he

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will make another film, and then competition from others. This will mean that those who see something successful will settle and

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want something else successful, and it will eventually become a stand-alone industry with profits derived from

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its supposed market, meaning according to the country it is in, meaning other than the Arab world, frankly. Other than Egypt,

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this did not exist at all. Our experiences in the region at that time

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were more limited to short films. The reason for that, I mentioned in previous episodes, was that

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the international film festivals that took place in the region

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created a need for those interested in filmmaking, amateurs, of course, and non-professionals,

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because there was no professionalism in the first place. That it is possible to become a professional in filmmaking in this region.

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I thought they had something wrong with offering something. I mean, a while ago, I was the one who said that I was bored of

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going as a listener and observer and not a participant. This feeling is not the only one I have for anyone

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interested in the cinema that exists in this region. How can we get this energy? How can we get this

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thing? How can we achieve that we can say something cinematically and make sense that we can present? What

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has happened is that it is experiments with short films, especially the film competition from the Emirates that was held in

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Abu Dhabi at the Emirates Film Festival by Professor Masoud Amrallah Ali, who is... He was

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responsible for this competition, which, frankly, founded the cinematic movement in the Gulf in general and not

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in the Emirates. I mean, I am one of the people who I am very proud of and who brought me together with

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many beautiful cinematic seats and discussions. I was honored, I mean, one year, about

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two or three years ago, that he and I were on the same jury in Sharjah Film Festival

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This person means that he was the motive behind a hobby of people who turned to films

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and filmmaking and to the love of cinema through the first thing supervising the Dubai Film Festival

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and establishing a film competition for the Emirates in Abu Dhabi, so this competition and the participation of filmmakers

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from the region in it means that the transition from... From the stage of listening

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and watching to the stage of participation, and they see what the difference

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in feeling means. They felt that there was a place and a means by which they could present their ideas, which

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is through short films. I mean, we wanted to prepare for this short film and we worked on

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the text as we said, and we arrived at the point where we chose, meaning the stage of the name, because I am always from. I don't know if it's

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because I'm a Gemini, the sign of contradictions, but I always like names that have contradictions.

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I mean, even movies. I mean, most of the movies that I made later on have these contradictions. I always like

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the meaning of one thing and its opposite in the name, so we kept going around. I told him that I know that he wants two opposites. I mean,

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for example, it means white. Black, for example, means something and its opposite, so hobby suggestions came between

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me and it until we reached the point that the name is a dark light. Of course, it means that it is supposed to be

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an illuminating light or a dark darkness, so we have equalized these contradictions in the name until later. For example, I have

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another film, which is the first feature film. Shabab Sheyab, I mean, I always like this thing because I

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present it with works, so we got rid of the topic of the name and got rid of the situation and the cinematic enthusiasm that we had

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at the time, and what is always honesty is close to the festival time after the end of the festival.

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We still have the insistence that we want to do something. We want to make a short film. We want to make

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a long film. If possible, it means that we have a case of healthy artistic jealousy. We

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saw the hobby of people and film makers. At this festival we saw the hobby of beautiful films. Why

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don’t we make them? Why don’t we do the same? Of course, I don't have this feeling, but I mean it's with all the people.

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I mean, the producers get it together, let's make a movie, and I want a script, and I want what, so this

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phase remains. I mean, maybe about a month after the festival, and then it goes, meaning

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this phase of cinematic jealousy, and this is what happened to us, that we now have the script. It's here and now. We have the name

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present, and almost all of the main roles are Mojo Dabbane. I mean, I remember that there was a movie coming out

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at the time. The film by the director friend Nawaf Al-Janahi is called Shadow of the Sea. And it was “Ako,” meaning an actor in the role of a boy,

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meaning not a child. I mean, the role of a boy who started out in

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adolescence, and it was very nice. I don’t remember, I mean, I don’t know his name yet. Now, I asked him: I remember

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my friend, the artist Mansour Al-Feel, and I said to him, “This boy who played this role, what is his

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name?” He said to me, “This boy is an Iraqi.” I told him, “How can an Iraqi speak? He was an Emirati who was good at tricks.” He told me, “

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No, he’s an Iraqi,” so I told him, “Frankly, I liked his acting.” I mean, I want him for the movie, what I have and of course.

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Then he became my friend until this moment. He is the artist Abrar Al-Hamad, so I even decided on the actors,

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which means that after this month, the festival has ended, so the subject of the film has been somewhat

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postponed amidst this postponement. The clip that we made for the artist Mansour Zayed, in cooperation with my friend

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Nasser Al-Jahouri, which is the clip for the song “Khaloni” that we filmed. In Turkey, and I talked about him in one

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of the last episodes, Mansour Zayed, God willing, with,

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I mean, with the intelligence of Nasser Al-Jahouri and his skill in business management, in production, and in

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relations in the Gulf and Arab countries, the artist arrived at Zayed’s pictures quickly, I mean, like a rocket, to be honest, but he

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will be a star in the region like never before. With the artist Al-Wasmi, who was of course retired at the time,

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and after he came out of retirement, they were my friends. I also mentioned in previous episodes that we would

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sit almost every day, between day and day, in a coffee shop in an area called Sheikh Zayed Road in

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Dubai, and the coffee shop was one of the coffee shops. Friends also mean director Bilal

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Al-Zabbara, and we used to sit there and keep talking. I mean, any development that happens in my professional life, they know it,

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and any development that happens in their professional life, I know it. Frankly, it was like a hobby of consulting. I mean,

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he would tell me about it, for example, Nasser Al-Jahouri, and he would tell me such and such. I would give my opinion several times. I would take it.

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Ray on things. There was a very beautiful artistic cooperation through friendship between us, so the time came

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that they wanted to make a new video clip for the artist Mansour Zayed, and as I said before,

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Nasser Al-Jahouri always loves strange ideas, and from his experiences with the works that

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we presented to Al-Wasmi and later with the artist Mansour Zayed, always He loves things that are different

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and have a new idea. He has a very special way of dealing with him. He always

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provoked me by saying, “Let us do something new. Let us do a specific topic. Let me do something new.”

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It happened at that time that they wanted to make a clip for the artist Mansour Zayed, and the song

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is honest. I mean, they heard me. The album was almost complete. They were buying Hamina's album, so I heard

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the album, and it had two songs, meaning tricks for fascination to show off. It is the song "Tala' Aashiq" and another song

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called "No Feeling nor News", so I told them "Ta'ala Aashiq" is this song, meaning the "head" and "hit", which are

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on the album and which we need to film. Nasser Al-Jahouri, of course, provoked me, as usual, by saying How can we come

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up with a new idea? So I told him, I always have an obsession with doing a one-shot, and I tried it. I

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said it in a special episode of the series. What is the most difficult thing to say is that I almost made a scene, meaning an 11-minute one-

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shot, and I mean, I am always affected by this idea, because it is difficult to implement. This is not a condition, of course

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. Shad is originally known as difficult, but it is very difficult to implement, because you can, for example,

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let us say that if we set the song as a one-shot, then it is a five-minute song, then perhaps you, at minute 4b,

0:18:10.400,0:18:16.520
for example, and 4 seconds, will make a mistake. You will not go back and replay from this place. You will go back and replay from the beginning

0:18:16.520,0:18:24.159
of the song and everything you filmed before. It is always difficult. I mean, if I make a song or if I do anything,

0:18:24.159,0:18:29.640
he avoids directors or filmmakers. I always wanted to do this challenge, so I told him that I might

0:18:29.640,0:18:38.320
do a song. He turned out to be in love with the fact that I would do it as a one-shot. Naturally, Nasser loved these things, so

0:18:38.320,0:18:44.400
he began to feel that he would do a one-shot. How would he go? What's the cost? So I told her

0:18:44.400,0:18:50.880
that what I had in mind is that the song I don't want my hobby to make is complicated. I mean, I don't want to show off the hobby of the one-

0:18:50.880,0:18:57.799
shot theme, but I want this one-shot to be expressive of the mood of the song. So I said the idea

0:18:57.799,0:19:04.600
I have in mind is that he is a lover waiting for his girlfriend on a dinner date,

0:19:04.600,0:19:12.960
so during the same time and time of the song it is. It is the time in which he prepares himself, that he prepares himself, puts on

0:19:12.960,0:19:18.360
the clothes, does not stop, prepares the food, prepares the table. It is the same as the

0:19:18.360,0:19:25.320
actual time of this story, which he prepares himself for until his girlfriend comes and he has dinner together, and there is a one-shot,

0:19:25.320,0:19:31.720
and we show that we, meaning the camera is there, means that we start with it a little, so that the camera is

0:19:31.720,0:19:38.400
close. A little while after the events of the song, we move away from the camera and do a trackback or pull back

0:19:38.400,0:19:46.039
Let us see little by little details emerging from the event that is about to happen, and we will discover that it is exactly what

0:19:46.039,0:19:51.720
he is walking about, because the clip begins with someone standing in front of the camera, and he adjusts

0:19:51.720,0:20:00.000
his belt and puts on a shirt, and then he gets candles and leaves them, and I mean, he has a thumb that discovers as

0:20:00.000,0:20:07.120
the song goes on itself, so Nasser gets excited and excited. Mansour Zayed and they said to me, Okay, let's settle

0:20:07.120,0:20:14.400
this idea, so I started wondering how to work on this idea. There were two important elements, as I mentioned

0:20:14.400,0:20:21.919
a while ago, that the problem is with a balloon shot. The mistake that comes makes you start again from the beginning, so of course it

0:20:21.919,0:20:27.440
always means that you will do things later and one-shot, because it is the mistake that comes at the beginning. I mean, how

0:20:27.440,0:20:33.600
is it? Because he's gone after me, he's not okay. He means, but there are mistakes. I mean, it happened and it's coming in the last two seconds

0:20:33.600,0:20:39.760
. I mean, that's it. If we got together, we finished the day. I mean, of course, it's impossible for this to happen. I mean, you

0:20:39.760,0:20:47.159
get rid of the first tick, two ticks, or even ten today. I mean, and it's possible even if It's

0:20:47.159,0:20:53.840
always a joke, they say, even in English, that the director, even if he takes

0:20:53.840,0:21:00.039
what he wants, always has an extra check for safety, or in English

0:21:00.039,0:21:05.600
: let's take an extra check for safety, meaning let's take an extra check. The director always has greed, meaning even if he takes what he wants

0:21:05.600,0:21:11.840
and feels he has time. He wants to take something more, so we started together. We said the work will be done. I am

0:21:11.840,0:21:18.360
in a soundstage, meaning in a studio, and I need a bit of a big studio. We built the room

0:21:18.360,0:21:25.039
with dimensions larger than what a normal room has because it is used with lenses, because I cannot change

0:21:25.039,0:21:30.559
lenses. I only have one lens because it means one-shot, so I cannot, of course, change it. Lenses

0:21:30.559,0:21:36.640
during photography, and I do not like to use lenses that have zoom, so I have to use

0:21:36.640,0:21:42.200
prime lenses, of course, and prime lenses are lenses, most of which, of course, do not have zoom, and second lenses

0:21:42.200,0:21:50.000
that are zoom lenses have a specific range, for example, from 24 to 100. There are larger functions,

0:21:50.000,0:21:56.880
such as lenses. Optimus to 200 means you can do more close-up shots, which means you can

0:21:56.880,0:22:03.480
zoom in more, so I didn't have that luxury of changing the lens because it's a close-up,

0:22:03.480,0:22:11.000
so I have to play around with the dimensions in the place when I build it. I mean, I don't build it with the real dimensions in order to

0:22:11.000,0:22:18.840
play around with the image, because the clip has to start with a close-up shot with a meme. Close and almost ends with a full

0:22:18.840,0:22:28.080
shot. This is a trick on these dimensions in the building. I help the photography and the lens that

0:22:28.080,0:22:34.080
I am using or the lens that I am using in that it shows the subject in its real dimensions, but when

0:22:34.080,0:22:40.400
you stop in the studio you will find that the distance between it and the table is very far and the table is

0:22:40.400,0:22:47.720
from the wall, meaning, for example, if the wall The normal should be, for example, 4 metres. I was supposed to set

0:22:47.720,0:22:55.880
10 or 12 metres, and it would show that it was 4 metres, because the lens and the lens, what I direct with the camera,

0:22:55.880,0:23:02.520
can create this, meaning the illusion, or the illusion. In the calculations, it is a mathematical aid. We sat down with

0:23:02.520,0:23:11.880
the product designer and I. He was from the Philippines, his name is Genk, and he and I worked together. Of course, before, I mean, with

0:23:11.880,0:23:20.240
previous works, so we sat down because we said we should adjust. This means the dimensions so that they are compatible with the lens and with

0:23:20.240,0:23:28.080
the director of photography. Of course, the friend Samir Karam. We identified these things and concluded the technical aspect, which

0:23:28.080,0:23:33.720
means that what is meant for the hobby, to be honest, is work and effort, but it requires no thought. It means that

0:23:33.720,0:23:41.320
we must be smart in choosing this aspect. The second, and what is most important,

0:23:41.320,0:23:48.440
is that the artist Mansour Zayed must practice movements and timing every day, meaning that he does not make

0:23:48.440,0:23:54.279
a single mistake. He must know what time to move, what time to go, where he will go, where he will come,

0:23:54.279,0:24:01.880
and how to stop, because of course, that means when he films, he means with professional cameras

0:24:01.880,0:24:09.200
with prime lenses. High lenses mean that the performance of the focus subject has some

0:24:09.200,0:24:16.000
problems, especially if the camera movement is moving in depth, meaning forward and

0:24:16.000,0:24:22.960
backward. I explained in previous episodes that the movements must also be

0:24:22.960,0:24:32.440
calculated by the artist Mansour Zayed. We preferred to do rehearsals, I mean, I have the office in the studio above, and we used

0:24:32.440,0:24:38.679
to sit and play the song. We will do rehearsals and I will get such a table and I will get the same accessories that I

0:24:38.679,0:24:44.200
will use later in the song, but I mean similar things that I use

0:24:44.200,0:24:50.520
so that he knows how he will move. I prefer one day, two days and three days. We work on it,

0:24:50.520,0:24:57.279
meaning Mansour controls the movements, and to be honest, the artist Mansour Zayed is one of the very smart personalities, I mean,

0:24:57.279,0:25:03.600
he treats thought as performance. Like a burn, like a commitment, I mean, he is considered one of

0:25:03.600,0:25:10.320
the people who really enjoyed the work and with whom he has the intelligence and knowledge of all the things

0:25:10.320,0:25:17.200
he is doing, so we have reached the point where the movements are finished 100%. This is what will be this

0:25:17.200,0:25:23.080
way, and of course I always photograph all of these rehearsals, and I go back and review, for example, at home or

0:25:23.080,0:25:29.200
in the office, and I sit and talk. Here I am going to change my narratives. Al-Mansour is always very important. It is very important to be honest, especially

0:25:29.200,0:25:35.559
with video clips. I used to always film the rehearsals and then give them to the artist, because artists

0:25:35.559,0:25:41.399
in general are not actors. I mean, their job is singers. Singing artists’ job is singing

0:25:41.399,0:25:48.559
and performing. I mean, acting is an additional thing when the video clip was invented, that they must

0:25:48.559,0:25:54.799
even act. They upload a video clip and it contributes to their success. It is not necessary that they know how to act. It is necessary

0:25:54.799,0:26:01.559
to tell mistakes and correct your narrations and be aware of them, unlike actors.

0:26:01.559,0:26:08.559
I am a hobby of actors, and in my opinion, it means the actor, it is better not to tell how

0:26:08.559,0:26:15.520
the result turned out or what happened, for example, with the technology that is being repeated, it is not possible to really disturb it, but

0:26:15.520,0:26:21.399
the exact opposite is true with video clips with video clips, not really with the possibility of

0:26:21.399,0:26:27.320
always benefiting from it. Arwil Mansour Zayed Bana These things are nice. These things can be modified

0:26:27.320,0:26:33.559
. Let's add them. Let's do this. And even after that, I remember that I made a video. I mean, I was

0:26:33.559,0:26:39.799
narrating it to people, because the song is coming later. Now we're talking about it. The song was a success,

0:26:39.799,0:26:46.120
everyone knows it. So when I made a video, I made it a video clip like that. The screen was divided into

0:26:46.120,0:26:52.279
two parts, with the video clip on the left and the rehearsal on the right. People were always very surprised

0:26:52.279,0:26:59.120
that how the rehearsal was 100% the same as what happened in the filming. I mean, God willing, I will watch this

0:26:59.120,0:27:04.960
video and it means I will be able to upload it to YouTube because it means that

0:27:04.960,0:27:11.159
at some point I was able to upload it because it meant the artist’s appearance. Mansour Zayed is not like we go out in the clip,

0:27:11.159,0:27:16.679
I mean in normal clothes and so on, so it means [ __ ] We allowed Mansour Zayed, if we take permission from him now,

0:27:16.679,0:27:24.919
that he actually posted it, with the benefit that how things must be carefully calculated in order for the work to appear

0:27:24.919,0:27:32.000
in the correct image, so we arrived at filming and finished the entire building and started filming,

0:27:32.000,0:27:38.080
so it means a one-shot. Its difficulty, as I said before, is that it is the mistake that happened on the day of filming.

0:27:38.080,0:27:43.519
It usually means 12 hours, and more than 12 hours is considered too much time, so we seem to have

0:27:43.519,0:27:51.080
12 hours to film, and the actual correct time is the duration of the song, which means five minutes, for example,

0:27:51.080,0:27:56.240
means five minutes and a little.

0:27:57.120,0:28:05.000
Hypothetically, I don't even have a montage, but I go and put the video on audio, color, and it's finished

0:28:05.000,0:28:12.080
. But of course, this means in dreams, I mean in apricots, until it happens. We want to prepare, we want to do

0:28:12.080,0:28:18.240
actual rehearsals, lighting, camera, and movements. We will see where the mistakes are.

0:28:18.240,0:28:24.320
He is the same artist, Mansour Zayed, who knows the movements. He knows the pauses, so we say we wasted

0:28:24.320,0:28:33.080
five hours in them, for example, until we caught up and started filming. I mean, within 12 hours, the first true clip became

0:28:33.080,0:28:40.360
complete, meaning from the first second to the last second of the clip. It could be approximately. I mean, after 11 hours of

0:28:40.360,0:28:48.000
filming. I mean, 11 hours. We always film the clip, for example, for the text, and it becomes. A mistake with the camera

0:28:48.000,0:28:56.399
for the text and its lighting stopped, for example, in the quarter, and Mansour Al-Zayed forgets something. For example, we had the problem

0:28:56.399,0:29:03.559
of two problems. He became a hobby, which means he goes back and sees this dog for him. The first problem is that he

0:29:03.559,0:29:10.039
is supposed to wear a tie. This is why he didn’t wear a necktie in front of the camera. He actually does not have

0:29:10.039,0:29:13.080
a mirror. He is sitting to see

0:29:27.039,0:29:33.000
what proportion he wants. He was wearing a shirt, then a shirt and a tie, then a full suit,

0:29:33.000,0:29:38.960
meaning a suit, meaning a hat, meaning in Iraqi, the whole thing, until the end of the song.

0:29:38.960,0:29:45.000
I always had to pay close attention to the shape so that it must come out right, so the collar

0:29:45.000,0:29:52.240
was always crooked. The collar that goes into the shirt always comes out crooked, always shows

0:29:52.240,0:29:58.480
the side of the jacket, for example. When he gets dressed, he always comes, I don't know what, this is the most wrong thing in our environment,

0:29:58.480,0:30:06.960
and it used to mean that at one point you had to bring two candles, and these candles he left them on

0:30:06.960,0:30:13.799
the table, so when he brought the candles and moved with them, they would go out, meaning they would come back, so even now, whoever watches

0:30:13.799,0:30:18.600
the video clip with the technology that I used in

0:30:18.600,0:30:25.720
the clip is the candles. When he brought them, I saw that they were extinguished, so I said no, I will say cat, and we will

0:30:25.720,0:30:31.799
start again from the beginning, so I don’t know how, Glory be to God, the candles came back on fire, meaning they went out and lit up, so

0:30:31.799,0:30:40.000
they went back and looked at the dog, you will see this snapshot. I mean, after 11 hours, it was the first tick that was correct, then

0:30:40.000,0:30:47.039
I went back and saw the tick that was not set. Then I told them, come on, the third tic is set. The tic, which means the third after

0:30:47.039,0:30:54.600
the correct one, means setting, but in montage, frankly, I used it as the first correct tic. We adjusted it because it meant that

0:30:54.600,0:31:00.320
all the technical elements were a consistent

0:31:00.320,0:31:06.159
and continuous performance. I loved Mansour’s performance in it, and I liked all the other elements in it, so we entered the montage, and there

0:31:06.159,0:31:12.000
was no montage, meaning we were just cheese. We put the video track on the audio track with the time line of

0:31:12.000,0:31:17.159
the montage and we adjusted the colors and the song was released. The song

0:31:17.159,0:31:27.919
really was a success. I mean, what do you say is unparalleled, but there are times when the big clip is successful.

0:31:27.919,0:31:34.360
The song and the singer succeed together, and it became, I mean, in more than one case, and this is one of the cases.

0:31:34.360,0:31:43.039
I mean, he turned out to be in love with one of the cases. One of the clips that succeeded is the video clip, the singer succeeded in saying that

0:31:43.039,0:31:52.639
he has formed a certain state, that is, what is his appearance or style? This singer’s presence in the scene will be

0:31:52.639,0:32:00.000
in any way, or it will be in any way, so he appears in love. It is one of the clips that actually led to this thing,

0:32:00.000,0:32:07.080
in that it made Mansour Zayed submit to the withdrawal that he is gone. This presents his style, this is his look, this is the area on which

0:32:07.080,0:32:14.360
his audience plays. If he loves this song, then he is the artist that they will love. This image is

0:32:14.360,0:32:22.000
the one that used it and he will use it, so the whole song was successful and it was formed. I mean, with the knowledge that

0:32:22.000,0:32:30.320
he sees, he can say it is simple, but a hobby. People knew that he meant the idea of ​​the one-shot theme. This and the

0:32:30.320,0:32:37.720
impossible plain that is shown in the dog means it led to success. I received frank praise for this

0:32:37.720,0:32:43.840
dog and it succeeded very well in the Gulf, in the Arab world and in Iraq.

0:32:43.840,0:32:51.600
It established, I mean, a new stage for the artist Mansour Zayed, which culminated in other works. Of course,

0:32:51.600,0:32:59.200
I did it with him and then we will discuss it in the next episodes. At that period I started to know Miss Talat

0:32:59.200,0:33:11.840
In Abu Dhabi, its name is 2454, and of course 2454 means 24 54, they are the points of intersection of the lines of longitude and latitude in

0:33:11.840,0:33:18.960
Abu Dhabi. The name, frankly, means sweet. The institution began to make films that produced

0:33:18.960,0:33:28.600
international films with the support of the Abu Dhabi government, and they began to enter the market, so they created a plan

0:33:28.600,0:33:36.519
called the Creative Lab. Creative and this section means its mission is that it sponsors filmmakers

0:33:36.519,0:33:45.840
in the region and provides grants for filming short films in particular, but it is the founder of 2454

0:33:45.840,0:33:54.120
and the companies that shine under it, such as Creative Lab and like Ignition. We have always been, or at least I have seen them,

0:33:54.120,0:34:00.440
meaning they are out of reach and difficult to achieve, because I see the productions that are very large and are still getting worse. Huge films,

0:34:00.440,0:34:08.720
so I felt that it meant that it was difficult for us to reach them. One day, my friend, the writer

0:34:08.720,0:34:16.480
Muhammad Al-Hammadi, came to me and said to me, “Yasser, why don’t we present the film that we made and put in full light to

0:34:16.480,0:34:22.119
the Creative Lab or the creative laboratory in 2/4/54 and see that it might be trampled on? We would like to

0:34:22.119,0:34:29.159
film it,” so I told him. I don't know what I think and so on, but if you want to try it, I have no problem,

0:34:29.159,0:34:36.119
so we went on the website, by God, and fixed all the things that were requested, and we submitted the script,

0:34:36.119,0:34:42.879
and we presented, I mean, things that were CMT, the director, and the writer, the processor, what is the proposed package?

0:34:42.879,0:34:49.119
I did all these things, I mean, and presented them on the web. About two

0:34:49.119,0:34:56.679
weeks later, they called the writer, Mohammed Al-Hammadi, and he told me that they called me today, the 24th. We promised

0:34:56.679,0:35:03.560
a meeting, and next time we will go and discuss how we can do this movie. In the next episode,

0:35:03.560,0:35:11.560
God willing, I will take you with the first cinematic trip in my journey with the movie Dark Light, and what things

0:35:11.560,0:35:21.000
happened to me. The paradoxes and the challenges. How were they estimated with a very simple number that we took as grants from

0:35:21.000,0:35:28.160
the Creative Laboratory to make a film that would be the first Emirati film? I mean, it would participate in the

0:35:28.160,0:35:32.200
Tribeca Film Festival, which is one of the festivals nominated for

0:35:32.200,0:35:39.240
Oscars. And how did the film win awards, meaning many festivals, and participate in more than 50 festivals

0:35:39.240,0:35:47.400
around the world? A trip that means a mission. Very good for me, and it almost launched my career in the world of

0:35:47.400,0:35:52.800
cinema and drama that followed. I mean, in the next episode, God willing, we will talk about this

0:35:52.800,0:36:03.400
thing, and I hope I didn’t mean it would be too much for you. Thank you very much for your kind listening. Thank you very much.

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