SE12EP04 Hargeysa Ilaa Hollywood

Omer Farah waxa uu horumar la taaban karo ka gaadhay filinsamaynta casriga ah iyo tebinta sheekada. Daawasho wacan!

Transcript

unknown 0:14

I'm not going to be able to do that.

SPEAKER_00 0:27

So you're arrogance and good like you arrogance can see now as got showing Borto, I don't like any how we modern off with some more.

SPEAKER_01 1:11

Thanks for having me.

SPEAKER_00 2:06

It was in the 1999 American name. It's different. So the Mahana Goan Kakati, Goan Kassina, Hamdilahabino successful day.

SPEAKER_02 2:50

Yeah.

SPEAKER_00 2:51

And Koliba shouldn't be the embassy too when I knew the embassy action that would know that. And then uh film, I don't know, back in 2000 Highway. And then Philin has a I remember the premise. So all of them were sitting at the Vantage Point. Absolutely. Yes. Well exactly vantage point. Vantage point. And then want to read and re-rush it, and then I rewatched it, I don't re-write it. Because of I didn't know protagonist. Antagonist because they show it. The mentor they were high because we kakaybate. That movie changed my life. Because when I read in Chile, I'm like, okay, let me find the name. Okay, I'm not going to be able to do it. And then that started a journey in on Bilabon Kamarad, and then Kamaradi Chalado, he just kept on going until then Kigarito, you know, being a director and being a filmmaker. Yeah, add Bonun Rabunti and Arostobo. Add Bonunarba and Kalkaran Kishiki, the Scottan, like in ad Bonunaban and Arostobo. It's so unpredictable. Like in film, your documentary, you can't. Redo. Come on, let's do it again. It's so unpredictable. And we learned Habana had the Keshakaya or Kopta. He loves it. I hate it. Like in Hadana, his stepping stone there and somebody or Mantute Wapadan Kafeidi and Dokkalashek is too in negotiation. I'd like to call that how much you're going to pay us. And we have to know regardless of how done every decale. Because if they're not there, they do. Yes. Maybe Sad the Afar Malahamar can do wake a badly. So had the kili gatahi or don't see killigain at Bakadubto and Aros Khanisa. Especially had dana the Haysen format la ra or leok, yabaka, helias bilamsa, then illumin and then every you have a schedule.

SPEAKER_01 6:26

Exactly.

SPEAKER_00 6:34

And do day the whole music or demality. So maybe tag into whom so see that dirt ban, go on how to, you know, continue doing so run. Yes, or the story karata to have in and never again.

SPEAKER_01 6:57

Yeah. Short film. Gurmad layum kakalifanty, or documentary got up at Mark.

SPEAKER_00 7:28

Okay. So Horta and Siddhartha in Tana and Gilimba or the Bahan Samadhi or Kabah education, after this. Because it's just a documentary, it touches the audience. And regardless, I'm happy. Because that's the documentary. In uh taps, you saw to store in an emotion that the same thing film could read, you have a sense of emotion. Like, what do you feel? So it's important today in Marka, Tabato, audience. This is fiction, this is non-fiction. The fiction has its own format. Non-fiction has its own format. Structured keys, form, keys, style, keys, types, keys, we could do in ball cabal. And documentary, but at the same time, movies and the lagama marmia, they went down to the game. The BTS directors cut, director interview behind, producer interview behind, actor interview behind. So just to get a sense of me, budget, same thing with a documentary, documentary on Dawali, and then I'm like, okay, I'm a documentary. And then, okay, no badge of the documentary. Film can there's different genres, there are different themes, there's different whole building. So that's why documentary and the air on the hegemon. But again, self-taught. They were also teaching us graphic design, illustration, and uh even technology, even journalism, or the other thing. So I started off as an editor. Okay, we have an event. But go ahead, it's on your own time. Allah restriction on kuka and you're an editor, guriga chokta, and bhafiska chokta. Sid the one sodi in an uh in a yegela shakayo. So a supervisor for the editors, the anhayir gribach and kakaib kati, or yugan editors aha, see the edit karaian, ama, and the angu supervised green shakadoda. And then Sanusi Sadi Chamad, the Domester, I the lie, head of production, because we hank post-production to production. They like, hey, we're an event, we have a corporate event, we have done. So, events. And then after them, we can try radical interview at the head of production at the studio, production, the shakadi saw button of head of production, and you're doing everything from in a furtail bepkewing. Exactly, exactly. Producer Kumakaho, but the creative director, and Ugusarayo, and Metrichoga. And but production, uh, head of production number majority of the time. And I think that's a good thing. And then I'm in the back room. I'm just switching to one and then one camera to another camera, one camera to another camera. Because at the same time, how are you gonna film? And then when you're not going to be able to do it, budget key, when a timeline is so you need to schedule, and then make it also in an equipment. So there's a lot of equipment. So the head of production does everything. So it's either media, filmmaking, or arts. So the hellasa. City kawaso got a million dollars. Out of that million, we can all dollar you need to hire youth. So either high school, why not higher garesa? So we have a filmmaking, experience good beyond it, the bottom of Somali Gary. And then we can hire the Somali down Lobby by English, and then you can code in today and studio and better. Okay, son, can not grant the logo. And I'm like, it would be easier in a ghost for rock, or the tanat the car to her, okay, I'm a ku that's better. Like in arrogance couldn't because we have though, you will have in the wadish and then Markasan Garo Bayana. And I was a hey, I know in a Garana, so probably TikTok but kata, probably YouTube but katawati, that's good. Like in arrogance the elevatis, so are they how? Are they ho? Even I know in tal like are they hi? Okay, filmmaker for 45 years. I'm not gonna say anything. 45 years of filmmaker. Absolutely. I'll stand behind it. Again, one architect all different cultures, you know, that bottom bahono. Every single race, every single ethnicity, and okay, hey, let's do this. You know, could not study, like, only sense. It's better in the Swell Ud instead of I know I know this, I know this, I know this.

SPEAKER_01 17:20

Absolutely. Yep.

SPEAKER_00 17:41

And I think that's a good thing. And then social media, like all the projects she's doing. She's in Hollywood, she's in and her line, she's told me she was like, because a small city, Montreal, Toronto, Vancouver. And Otto Hakali led, and that cool the creative guy the cheat or the gano herad and Toronto we don't need to compete. We don't need to compete with them. And I was like, okay, the Arbano hai like. Because you're more busy. But that's something that's not a good thing. And you're a PA, you're getting more experience than the head of production. And then we went to Allen, or Megalan Kaloko Hosisa, and then when Sonakine. Now, guess how many hours in Shakin Chidney? Sixteen hours a day. And then in Tashan, they were tagging to hey chief, we have someone at Kesa. And the funny thing is, I know how ketchup. So I have to like write it down and be like, try buttons something, but okay, hey, cameras offered, hey, you want it, okay? And I'm heavy. Okay, all the peers are here, and then we saw T. I was like, okay, you're here. How old are you? And I was like, probably like 26, 27. Say, 26 years old. And he was like, You remember where I wasn't 26 years old? 26 at your age, how can I know what choked that? That's it. You're no rush really. In filmmaking, the idea of the filmmaking could do how we are. Nobody cares because you have no experience. Because it takes five years in Athobara to pre-production, probably ten years of production, because every year Kamradi Baspidalisa Laira is not cast, it's Abdit Ghresa, it's Abdid Garesa. So you're never learning. This is a filmmaker, Han or Lagarani, or Ma'arufa. If not, sit back down. I think black, well, black something ballar like him, Mexico, and then they poured in so much money, like bottom button, because the quarantine, COVID, because restrictions button back. Because Mexico, restrictions, but then feeling about that with a Netflix book, and I'll let you know how to mention that. And we're going to say that. Because it's higher grey, Mudeku had a quarantine creature. You know what? We have make a part of his not Tima Samenkrata. Let's change it with the Minka and Kakubilaba. I think it was close to 25. Like in 25 casi, Markey EBN or distribution rights key. Ha Markey distribution rights key hellen or EBN. I don't know what the budget key logo talag is probably like 35 or 40,000, 40 million dollars. I'm not talking about Universal, Netflix, I'm talking about the smaller production companies. But these ones are 50 to 30 to 20 million dollars a year. And then it depends on them. You will see the writer basal bahayakan. And then by the end of the year, go ahead and produce your film. And because production you cannot edit the film, but also distribution, marketing, department. We cannot develop a film. Developing in a El Bebkas. Every studio, you're like, hey, and then they have to believe in what some. Because if they don't believe in it, they're the convince them. Development of the idea of sort of a lot of people. That's where it starts. If you idea, and you have an idea of one scene, okay, and then you have development validators. You're in the development stage. Brainstorming by money, in a colonia, and cinematography, and director of photography, in a convenience, lighting, the tangy at the low deck. Because how can I have one job? Either your director, or cinematographer, or DP, producer, executive producer, because it's so much work. The distribution rights marketing. Because we are comedian Dave Chappelle. Anytime we stand up some Netflix what the Perman Plus Wad, Disney Wadar, ABC Wad, and Universal Wad DR, the mentor in Ibsenka Kakadan. Rights got to do a chance. They have a studio and they all they do is license films, series, documentaries, films, into some way license. Because they have a platform, Twitter, social media, they have Netflix itself or a one-kard. Because it's a system and you agree with. Even though on it, come on, but they can still grab your film and then number one because your film. Push karin to push karin or some people, you go at arkes in the way, and then you can see the Netflix doesn't push their film code. And there's reasons behind it. Because they're going to push it to number 10. And then we're that's the distribution and habit. Again, Netflix, Disney, Amazon, or marketing, or posters, and then it's a good idea. Because you can put in as much money as you want. That's why agency at the Tana Sosari, marketing agencies. Or laaka, or only an social media and lagalin, push karma, promote. Especially the feeling, at least, they help you push it. That key law behind.

SPEAKER_01 30:34

Absolutely.

SPEAKER_00 30:35

And Wahan Goanka, Hortu Iudeli, and Ano Chogo, or Kishakenea, and LA Patriot Pictures Ballad, Halkan Kishane, and Ayawa Hirtei, executive producer or good, or Hukadike Mel Studio, Win Bukardi, and then studio has Hablumba Kishini. And we were interns after Markov. Internsquoted belong, Shane Lechov Melahas. Go ahead, Kubir Creative Development Teamka, which is script ka into production companiga. Now, email monitor, and then email so daya, almost 120 script per month. Out of that 120, when I was able to use the exact one, again, email can you egoula, okay, heavily heavily go ahead and Frank Lambert ego, can't ego, can't ego, Marka, Tazortich. And then one and raitri. So it was the executive producer, the assistant executive producer, and then his assistant, or you don't know the choke assistant, you don't hate. We used to go to meetings, uh, conference meetings, meetings, like a half, lunch meetings, could I have to go to the house? So around like one o'clock about the Duhale, and accelerated producer could debit them with the producer. And Marka Sui Gudi, do you ever think about having a production company? And I was like, yeah, obviously, yeah, when when Kafi Kiri dohe, and he was like, Start it. And I was like, okay, what's the why you what's the importance of starting a production company? He's like, Well, what you do, you can use the product, you can use the production label, and that's yours. You need a production company, um LLC at the U.S. everywhere. He's like, Yeah, you go, and he was like, make a production company. So come like, okay, whatever, and you know one kafiker done. But remote kushai. Still no one kiss writing key, script coverage key, can a script coverage, uh scriptus, and page, and page, date and page with Don Bahano, Adam and Achreto, Wihoso Dre, Wahan could the sense of feedback. So it's basically a review at Kadiar and so script. Is it like a good structure? And then by the end is your feedback. And then you can grade it. But at the same time, when the coverage key cala feedback, shekwahaiwa, it's a good story. I would change Wahiwaha or Wahiwahasan Kabidilla. Same thing with characters. They have good characters, like in that extras, the supporting actors, you know, weak uh their character development. If he asks you, sometimes I'll dele coverage. So take another production. And like, okay, never mind. Like he's television to the case. And then he doesn't even read it. And then he's like, okay, tell me, I'll do shake about that. Then Markasa de Tanao Shakespeare Sawin, Saiysa, Sawa, and Sawyan. I need a production company. Manta, I just I saw it in Wahanegi, ano tikiri, but like, okay, I accomplished this, I accomplished this, YouTube channel for okay, I accomplished this. Okay, I accomplished this. So Alhamdulillah, I mean it's good to have an ownership in Wahhagi owner at Kaha to what male platforms. So the gun is at least in aikuri in your male arco. Yeah. Basically, Nimba Marka Chemisulia, the Lyro Kopia, had the activity nogoto, the media Nogoto, had the Ado I remember them. I can see in a digani so I can see you can work, but Kale Anagana Noshake. Especially the Lingerta quit grade nine, grade ten, grade eleven. In a school, the ten schoolto media. So you have a month or two months and seen to padan, the tenu diar sana, and education maha. I already know how to create everything. Then uh so into schoolo you do uh takicheri, regimentary, canonberry, and then another one in March because adult school bohakas afrada and ticcheri, or the doing by the dasina, we have no media. So pre-production, production, da da da, das and some edit caray, it was good actually, because our day the missing in a saying, Talabade Kale, are de dani, what are they technology kusocurti, mobile kukurti, and laptop kusocrati, takana sa low edit crayo, kumava bahnaba. And the pandemic, just the foundation. What can do, what guns are hello to because they're using capcut. Just the foundation when you ditch in canoe didn't head in a solution, on kusulin comedian. On chalice on it, okay, you know, this is the media, this is what you do. How many hours do you work? You know, some days again with the media. Some days we have to the other day, what's got chief thoughts and good. So hasn't I like it's not ninety-five, you know, one day, you're good. And then they used to like it. Like, oh, like that's a great idea, we have some doing that. Again, media to maha to this media, okay, media do I'm filmmaking, I'm a director who is from researching to grant writing, to script writing, and it's a very important thing. Umbrella media, it's gonna be a good idea.

SPEAKER_01 39:25

Um, whether it's a good thing. Yeah, and the habit of sound.

SPEAKER_00 40:14

But not a bad audio with good video. Like in video when I saw earthquake. Because anytime you're watching limited, although Dawana Earth, there were one I saw video day and earthquake nodifi, you can still listen to it. Soin a makabal to be sound. Sound is number one. Again, what Agab Naga Awiniya, like this microphone, or Naga Awini or Nadifo, mixer cast. But at the same time, sound is so important. I would be a sound engineer. I would create uh music, beats add one of Charlie and some of you. But I love it. You can have you have so many options. You have so many sound effects, or you can see that. I don't care if it's a podcast, if it's a documentary, so you're gonna listen to it. Like in Hadan, we call it Khanisa. You're like, okay, but because when had the audience, you can't do it. So had so da da, like leveling by let's sound cool, you can level it, you can gain karta, you can strike so many things. The other thing is lighting. Addo is the best lighting in the world, but you cannot use it all the time. Yes, Ad Edu was the Amalik, whatever, that's okay. Then you have no option. Now you have to have lighting in Ad Barata. Now, lighting kibahatana the Bokolanor Okla Bahia. Podcast has a certain lighting, film has a certain lighting, documentary has a certain light. The gaffer. Documentary and kush again, do we text this shoga? Nimba far talking. He's a gaffer for sixteen years. Willig his mood in Kamara show. Shakadis were headlighting us. Now, he's not the only one that bottom collector, the gaffer because screwdriver by which are a tape by which are a high bag, which are a canceller, kill a beer, and the maybe all that by the way. Because lighting is important. One of Louis Director Photography Gaffer Kumarkas, lighting anyone who's not. Okay, I want this side. I want Rembrandt lighting. I want half and half. I want overhead. I want to do this. Lighting is important. If you fix your lighting, we have a top notch. Same thing, okay. I have enough lighting, but mobile came on quality and when I can film some style. Ooh, that's a good question. And I love mystery. I love thriller. And I love in your feeling I want to trick you. You know, you can go inside here. And mystery and thriller are probably not some dawday. And it's not like, you know, every single mystery, mystery dua know that no. But like in Kuwait, like a psychological psychological thriller, and Alam Sallamid, like uh like criminal minds, the series. They have uh like a twist. Yeah. I think that's my style uh when it comes to film. Shake it means style kawa.

SPEAKER_01 45:36

I'm storytelling.

SPEAKER_00 45:37

Yeah. Storytelling is a filmmaking. So it's act one, act two, act three. Standard case, we'll get the maybe delicious. There is always like uh exponential phase, you reach the climax, resolution, and then closing. Lakin brigidambbe, ayala birth in of act one, okay, it's act one, lakin, I'm gonna change it a bit. Act two, okay, I'm gonna change it a bit. Act two, I'm gonna change it a bit. And structure. And hero's journey by Chile, it's more like a circle, basically. And Harry Potter, and all the Marvel movies, Batman, Superman, Hero's Journey, because you're following here. It's character-driven, you're following a hero. And like this, structure storytelling approach. So what I do is one scene. Just one scene. I don't care where it is, maybe. So seeing one haya, or one karani, like let me go forward and then build act one, and then let me go backward and build act three. And then you're like, why are they fighting? And then you think about act two, and then how does the conflict and then go back to act one, and then you can't do it? How do you how do you guys write? And then you were like, oh, yeah, we write act one, but it's mostly character-driven. Character ka, a Kasamania film ka. Story based on a character. Like heidan ma'aragurta. And I'm like, okay, I'm gonna think about a scene, and then sin can fork it. I'm gonna think about a scene. That's how he's holding. What act of the malina is in equity? That scene. Confrontation. Which one would it be? Act one, two, three. Now let's build that one. Let's build around it. Let's go back. I'm giving you a home captain. Come on, you're a filmmaker now.

SPEAKER_01 48:30

Okay. Okay. Um that could meet. There we go. Good.

SPEAKER_00 48:42

Now, Gormu go back to his childhood, shake his childhood. Uh there we go. There we go. So that's act one. And then act two is climax ki yodoheshay. Would be the climax. There's a serial clear sunny and san. And then she looks under the bed, she sees it, he grabs her immediately. And when he grabs her, now we're in act three. Now what happens?

SPEAKER_01 49:17

Now what happens?

SPEAKER_00 49:30

And then the guy dies. Now that's a whole film. But we went from bit by bit by bit, scene by scene by scene by scene by scene by some by name. And then we can just keep going. Okay, brainstorming. Hey, mhm, mm-hmm. Because you have to ask yourself that question. Shekharuna basically was us. You have to ask yourself questions and also in a to convince. But it might happen. And you have to convince yourself. You need to convince and be like, okay. You have to be passionate about it. So that's my approach.

SPEAKER_01 50:28

Absolutely. But Wes Anderson.

SPEAKER_00 50:31

Okay, there we go.

SPEAKER_01 50:32

Okay. Yeah, absolutely. You made a busy symmetry. Yes.

SPEAKER_00 50:39

Yeah. I think I think he's not committed to shake. Christopher Nolan. Yo, I'm Nikolo later, Ryan Kugler, made the Wakanda forever. Yeah. And Black Panther Adventure, not Wakanda. Black Panther. Black Panther to me. But can you work the Shekudu when DGST? I don't just like this Dennis Vlen Villanova, like Remontreal.

SPEAKER_01 51:08

Okay.

SPEAKER_00 51:09

So I'm going to do news to me. And not because of the cinematography. Like in that, obviously cinematographer, but they have to be able to do it. Every single project, maybe a cinematographer good. Because that's the only person who is a very good idea. And the reason is they're above the line. So the director, cinematographer, and producer are above the line. Below the line is me, production assistant. And coordinator, sound engineer, and the gaffer. And we have to do it. Exactly. He does have to pretty six sixteen films once, and then after the 16th. And I think he stopped him. Because almost$100,000, million dollars in at Samayo. Obviously, that can work with MC, yeah. The film is it? What's the budget? And they're going to be like, hey, 200, maybe 300, maybe 500, maybe a billion, because I have a target so many was almost a billion dollars. So five years, six years, ten years when it's come back. And you need to go back to your writing stage. So I would say Ryan, uh, Christopher, Dennis Pilonov, Alifement.

SPEAKER_01 53:21

Oh yeah, sorry.

SPEAKER_00 53:26

And Ghost Story Production had that series or documentary. Uh cafe employees got some of the more funny. And then I went through the whole format. The other thing and a series like that, 9 to 5 unfiltered. And which I didn't calahano, I think. Basically, Adan Shakata Kuraya. And then Shakata Kuraya between a nine to five. And then between nine to five, they don't have to be a little bit of a dad a kaar can and shakata captana and get a lot of people. So basically, the city of Kamali to we have the clientisi. But at the same time, they wanna do before we have a lot of people. Next episode, we did another one on Laddube, and Rechivutia or Moi Taiga Yara. And Inaki documentary competition. So I did before the flight, before the fight, during the fight, and then after the fight. So we did before the fight, the before the fight, so from how he prepares, what he eats, during the fight, and we have to do it. And then he did an assessment, a Yugosimi, we heard to say assessment of a client, Kudoka. And then I did I film that. Again, that can he wallahi email a phone call. And all I'm doing is connection, connection, connection in the year. And the series, and police officer, and he watched it, emailed Baslavani, one walkali, one colony, because they understand, especially, they understand, not just Shakadisa, but like his talent and his professional. You go here on no publicity is bad publicity, is bad publicity. Had the publicity when you go ahead. You know, you have good publicity. Had the publicity. Especially coffee shop. Oh no, we have a bad review. They invite people. They're like bad review. Next time, it's a free coffee. If you had a bad experience, bad coffee, no. Free gifts, gift cards based on me. But they know because they understand me. And then I have other episodes or so they go in production and uh post-production kuchira, neurology, naturopathy, and uh, the bea, or basta in hangi bar examca, or imaker lawyer, criminal uh criminal lawyer way at the same time with the main UFC, casito, or the galanta. Different provinces, can or done in on some or the bahata, you know, other people.

SPEAKER_01 58:54

Absolutely.

SPEAKER_00 59:12

Madame Kobei, it's narrow on Maratita Bahane, why for the only could be on at the same time? That's the only thing I need to do. And had the filmic tai, had they documentary, had they dobitan tai whatever it is, could beo, we hid on kaawa in karana, and kaoyo. We have to me dedo.

SPEAKER_01 59:34

We had to have the uh in a funk filmato. Yep. Um cabello in a high so film Samaya Shaka, you into Kudavan is a dunku chukte.

SPEAKER_02 59:59

Yeah.

SPEAKER_01 59:59

Mukala.

SPEAKER_02 1:00:00

Yeah.

SPEAKER_00 1:00:01

Halada, that's that's also my say to go fading, castan Michiran Yeah and the ad yeah, the ad banana. And Horta Bahano child in la dotin and behisho the funka, and Chogamegaledi in Hortal Funding Hortalasio. I don't care how funding to have the Kalabian, in Horta Kalamel Gilio, or Lassio funding one action, or Kusumeyan, film and that bottom of Kerala Bottom Beh, Hayebachia, and documentary and film Haya, or unless vision couldn't salah singer having competition in law capital, or competition, his uh filmmaking, and short film competition by short film competition. In mentors lost some bad accounting business with the digital. Because of that documentary and some. So her egg in don't look at the views because Sagali Sagashan has a bad day. But Mante imagine, go back 50 years, go back 100 years, Bulmanti in Tako Dawata, a podcast and dawata, Bahamba Uga Nat Kuturado, Bokoli Lawton Kunkovitaoli. Madahakhila. That's nonsense there, because Bokoli to the so are the women. But imagine ninety-nine people batskuk in the colour. That's what they were successful. Again, documentary listening by the Thomasanako, or Mantamara, Kabasoka Bokal, and then Dibu Son of Soka. Especially how do you two be a male could actually maha Takale Awima to Kalawin and Wimhim, Dokka in Mescalku an accent, regardless of what they're doing, especially Kushakas and your gamus, a skill-based way in honey. You're gonna forget everything, a do you don't hore it's gonna be updated, they're gonna change the camera, the bidding. We have everything. We have the best strategy geographically. Industry get rape to the immediate person on Hagachino. Siasadun Mahao Haladobio, Haladobi, there's more than this. Bahia Bodono Kalechira. Absolutely.

SPEAKER_01 1:06:19

Yep. Uh next time Harchin in a cogunno go to Shaka. Yep. Adigo auto. Add Bukusia. Add the Kushino. Addia Matantahi. If you can add it by my centi or Salamalikum or Matullahi go bracket.