Fatemeh Motamed-Arya
Audio of the Entire Interview
Interview Transcript
Part 01
I was born in a traditional middle-class family in Tehran, in 1940, on Molavi Street in Tehran
But from the age of 3, my family moved to Shamron and I became Shamron’s child
But my family lineage goes to Molavi St., Tehran, the soap alley, the so-called Tehrani kitchen.
I was the fourth child in the family, out of five children that my brother came after, and they were all almost 3 years apart, my brother and I were 2 years apart.
I grew up with a loving and full of love and taking delivery of the little girl of the family
My father was a firefighter. At first, his father had a telephone booth, the first telephone booth to open in Tehran, on the same Molavi Street.
And my father’s last name was Haj Mohammad Baqir, their father’s name was Baqir, because they had a telephone house, their name became famous.
And later they had a traditional Sangaki that is still in the same area of the soap and kitchen, but it has been passed down from generation to generation and passed on to others.
But they had a Sangaki bread to which the Rumi region belonged
My mother was a brave woman, very much, they are not now, neither my father nor my mother, but about 70 years ago my mother and father ran away and got married because they were not allowed to get married.
And the audacity they had during that period, and with all the hardships that had been inflicted on them by the two families, had made the emotional relationship between the two more and better.
The same love was passed on to us by our parents, and we had a child full of courage, full of love and color.
I do not think he will ever get away from me, even in old age, I still have the same joy of a 14-year-old girl running to get to her theater classes at 9am
I’m still dating you at 9 am, even though I’ve arrived at midnight, I still have a passion and a joy for wanting to talk about cinema or my work
And I think the root of this is my childhood and the recording of my childhood in my institution that will never leave me.
Everything I have now, everything that exists, every step I take, the most important thing that helps me is the love I received from my family.
From father, mother, family and relatives, we have a very, very large family, you know a part of that
It was a very large family. My paternal family was traditional and religious, but I can not tell you how happy we were all.
Tell us about your childhood memories, the older ones you remember now
My oldest childhood memory was probably when my brother was born and we had just migrated to Shamron, I was probably not even 3 years old
I remember that my uncle had come from Tehran. Shamron, we were imprisoned.
They had come to see us, they were also heartbroken because Tehran had a distance to go with Shamron, and now that daily family relationship had diminished.
I remember being thrown like this, there was a pool above and below my feet, it was autumn, I remember exactly that
The pond was full of yellow, green and colored leaves, I was thrown up, when I came down I saw these leaves
And I said, God bless my uncle, this is the first thing I remember from my very childhood.
And one thing was a little earlier, my brother who was born I remember I went to kiss him, I did not feel and I bit him
Because I was upset that someone else came after me, and I both loved him and was angry.
I even remember that there was a net over our heads and a very soft afternoon light, these are the first memories of my childhood that I remember
I went to the primary school of Bouali Shemron, which was a large school complex, that is, it had both a primary and a secondary school.
As a result, I and all the sisters before me, all in the same school, went to different classes.
He was one of the exceptional schools of Shemron because he had a good discipline, good teachers and very good students.
Then I went to Farah Pahlavi School, where it was called Saleh Alley, on Bouali Street, where now all the names have been changed and the school has become a boys’ school.
After primary school, I read guidance there and then I went to Tehran University of Arts
Because before I wanted to finish school, I met 2-3 wonderful teachers who I can say changed my personal destiny in the current situation.
They were wonderful teachers for They have introduced me to reading
Ms. Maryam Vaezzadeh Marjani and Ms. Mahvash Ghavami, these two were the teachers who put us on a very wide and endless road.
They controlled both sides for us so that we would not get off this road, and that road was the culture and literature of Iran and the world.
And the music and all the good things that a teacher can inherit for his student, gave me the most cultural heritage of these two people.
Earlier, my mother used to force us to go to the center in the summers, the Niavaran Library Center, No. 13, which was in Niavaran Park, and
And the summers were exploding like a bomb because the kids of that time were not like they are now, sitting at a computer and doing their own thing.
They broke something, they ruined something, they played in the alley, their play equipment was wood, stone and boards.
My mother used to say that you should go to Niavaran Library every day from morning until 12 noon in the summer so that we would not have too much fun.
As a result, my younger brother and I went to the Niavaran Library, a center for the intellectual development of children and adolescents, when we were about 9 years old.
I can really say that he raised us there, made us a good dough in our childhood.
When I started the theater, I had two great instructors to teach theater for children and teenagers, Mr. Qutbuddin Sadeghi and Mr. Hassan Dadshkar.
At the beginning of my career, these two people had an infinite effect on my work ethic and my work discipline
And if I want to say absolutely, only one thing determined my destiny, maybe it did not change, it was the focus.
The center confirmed to me that you should do cultural work
He raised me, when I go to the center at the age of 9 and paint and then a letter comes to me at home in my own name.
How do you feel at the age of 9 when your paintings were used in the work of Noureddine Zarrinkelk?
You think that you are a person, you have an identity, you have an existence and you are useful
And when you watch the film, for example, in the 4-year-old club at the summer festival of the Atel Motel Tutuleh Film Center, they showed Mr. Zarrin Kolak, which includes my and my brother’s paintings.
Well, I wanted to say that this cow is my work, and still when I see Mr. Zarrinkelk, he says that you are a child who helped me in my work.
That is, it makes you forever, to say forever who you are and what you are] delusional
If I say something determined my life, it was the focus, if it weren’t for my teachers, I might not be who I am, but I can not say that I would change much
– Many things must be remembered from the happy memories of that time, can you tell us about the memories of that time?
Well, the memories of that time were all good, our unhappiness was just reading a poem by Shamloo, for example, to feel a little intellectual.
Let ‘s be sad, for example, shed a tear from reading a new poem
That is to say, if you were going to be unhappy, these were just the things, otherwise it would have been full of excitement and self-confidence.
Because the center did a great job of giving us confidence from childhood to adolescence
That we have the ability to express what we know and the power to express our criticism of what we are critical of.
That’s why everything was pleasant and lovable to us, everything
I can not say a specific memory, but I can say that I remember all the days I was in the center, even the color and light of that day, until the last days I went to the center
Among the theaters we worked in at the center, we also did puppet theaters
One or two of the performances invited to the Toronto Summer Festival in 1955 and 1956 featured a collection of the center’s work.
There were two works that we were in, one was a collar that was a show independent of anything, but we were working with Mr. Dadshkar from the writings of the association.
And there was a puppet work called The Incident in the City of Puppets, and the collection of these theatrical works coincided with the puppet theaters that both taught and performed at the center.
This was the first sign of my puppet work at the center, I went to all the art classes
Music, painting, printing, essay writing and everything else in the center, even filmmaking
The last class I took in the training courses, because I took all these courses in Kanoon
One day I came to the library and saw that they were saying that they were showing a movie downstairs.
It was very surprising for me because at that time, when they saw Samad Behrangi’s book, it was a crime.
I remember that my mother used to put a tent on them and go to Shahabad. There was a bookstore in Shahabad that was also Turkish, only they had Samad Behrangi’s books.
My mother would buy them, bring them to me under the tent, because I was making a list to see these books, you can buy them for me because I can not go
It was very surprising to me that his film was being shown
I went downstairs and saw that it was the end of the movie and a very nice gentleman was analyzing the movie
It doubled my desire to see what they were doing
I asked what class was here and they said it was a theater class and we had an exceptional movie in it.
I said yes, I can come to this class, they said no, our course is over, the course is one year and there is one month left of the course
I said you let me come to Claston this month, they said oh come what do you do, I said whatever you say, I will just come to this class
They said very strongly that it was the end of the class, let this child come too
I went to class, all the work was physical training, voice training, reading plays, everything they did, I said let me do it too.
They said, “Oh, what a disaster, oh, come on, now we’ll give you a role in this play, Black Legion, a very sculptural role.”
The play we were working on, I still have that play, was an A4 sheet on which Mr. Poursamimi’s niece, Ms. Maryam Mahin, had written this, called Ziarat
There are some people who go on pilgrimage and make vows, and I sat in front of the shrine like this, facing the spectators.
Hey, I was told to look back when the spectator came, I was just staring to see what’s what, this world is
These were the first steps I took in acting and then I thought it was impossible for me to do other things I wanted to do.
And it was this passion for acting from Samad Behrangi and the screening of the film One Peach, One Thousand Peaches and Mr. Sadeghi’s very sweet words that made me come
– Qutbuddin Sadeghi?
Yes, yes
Then they accepted me in their class, the next courses were more advanced, I went with Mr. Dadshkar to Laleh Park, which was the center of the theater at that time.
And there were advanced theaters, children from different libraries all gathered in that center
For example, I was from Niavaran Library No. 13, one was from No. 9, one was from No. 7, for example, Naziabad, Rah-e-Ahan, all the children gathered together in this library.
When I went to the theater class, I thought about why I should study at all, I should go to the art conservatory and the art academy to pursue theater.
And because I was a very, very good student, neither my school nor my parents were very happy for me to drop out of normal school and study art.
In short, I persuaded them with my claws and teeth, I was very successful in the center, we had performed in several theaters, and the coaches liked and knew me very much.
All of this enabled me to persuade them to let me go to Tehran University of the Arts.
– How old were you? What year was it?
It was the year 55
– You mean, like, 15 years old?
Yes, the Academy of Arts used to be a folklore organization that taught only traditional and local dances.
But the period I went to was combined with music, painting, dance, theater and calligraphy
That is, there were 5 main arts that were our lessons and we had to grade them, plus a little English literature and language.
For example, suppose I know only four basic operations in mathematics and geometry below zero
Because I went to Tehran University of Arts right after guidance
– What did you read there?
His period was four years, the two years that we called public, that is, everything had to be on the same level.
We studied music, dance, painting, calligraphy, and theater in the same way, and from the third year onwards we had to choose a specialty, and I went to the theater naturally.
There was a revolution and everything changed
– Who were your contemporaries at that time?
My contemporaries started from the center, Hamid Jebli, Iraj Tahmasb, Ali Talebi, Hassan Hassan Doost, Homayoun Asadian, Mohammad Reza Aligholi
And after Massoud Keramati Center, we were in a series that we entered the cinema together from the center
I graduated from Tehran University of Arts, but we were under the support and cover of the Ministry of Culture at that time.
When the revolution took place, well, everything changed, all of us who did not know what to do because they had dissolved the university naturally.
These artistic things did not fit in well with the educational intentions of the time. They took us under the cover of education, which was to train teachers.
Because after the school was over, we could go and become art teachers in the education or cultural centers of the Ministry of Culture.
When the revolution broke out and all these relations fell apart, we were taken under the cover of teacher training.
– What did you do after you finished college?
In fact, before I wanted to go to university or finish college, I had so many professional and artistic and cultural relationships at the center and it was educating us.
This is how I came to the Laleh Park Theater Center during the advanced periods of the center
We worked there in an almost advanced way, that is, we rehearsed ourselves and took all our shows to the city for the children of the center and the city.
This means that during the year we always had to have a permit or a permit from the family to allow us to go to the city and perform for 2 days and return to Tehran.
I was doing my job there, because Laleh Park was close to the University of Tehran, so we went and participated in everything that happened at the University of Tehran.
I met theater kids who were students of fine arts, so I went to student groups before I even wanted to go to college.
I mean, I think I went to a university in 1954-55, where I went to all classes as a free listener.
And I got my grades in college because almost all of our professors were in common
Of all the people we worked with in the group, only I was not a student, the rest were all fine arts students.
We worked together at the University of Fine Arts, and I went to my own art school at the same time to get a grade to continue.
Otherwise, 2 years after the revolution, I would not have attended classes at all at the University of Arts because it was in disarray and all our classes had been deleted.
And he was just focusing on English literature and language and some photography
As a result, I’m wondering why I’re wasting my time.
They had a series of classes that were free, for example, I missed all the classes of Mr. Shamim Bahar or Mr. Samandarian, Mr. Beizai, all of them.
As a result, there was no reason for me to continue there, someone wanted to continue to get a degree, I did not care at all to get a degree
Because I had grown up in the center confident enough
I went to the school at the same time, that is, when I graduated from the art school in 1959.
In fact, I had graduated from the fine arts for myself, because I had read the door I had to go there for 4 years.
– Did you go to the center at the same time?
At the same time, I went to the center, I went to the center until 1958, because after the revolution, it was completely closed.
And I was 18, and the center usually took care of the kids until they were 17 years old
– Well, you’re like you did a run for France in 1957-58, right?
Yeah Al that sounds pretty crap to me, Looks like BT aint for me either.
Teach them the language for a year and then tell them what it is like to choose a field and stay in France and study.
I had run away to go to the Sorbonne and study theater there
When the revolution took place, I had to go to France at the same time and they issued me a card to go to France with that card.
As my mother said, well, you have to go next month, I tore this card in front of my mother, here
I crushed Rey and said I will not go anywhere in this country anymore
Wherever I want to go, the Sorbonne, Moscow, wherever I want to study theater, now the best will be here
As a result, I did it with a historical mistake or with a historical taste
It was very difficult for everyone at that time because I went and studied French for a few years here at the French Institute so that I could take this exam.
When I took the exam, it was not easy to get that card, but I lost it very easily
I still do not regret it, I did not know if I would go there and go to the Sorbonne
Maybe I was a university professor teaching theater now, because Sorbonne’s work is not very practical
And since I was not a theorist, I’m very happy that I did not go now
I was happy at the time, but it was hard to let others know that I wanted to work in theater and be an actor for something.
That I can put it firmly on the ground from inside me
And it was hard to prove it then, but now it has been proven that it did not have much to do with where I was going.
Part 02
When the school was over, I started doing some professional work with the theater kids, with the group of fine arts theater students.
We started working together, they accepted me back into their group, they were a group of outstanding fine arts students working in experimental theater.
I was also very enthusiastic, then they also saw that I have an experience in the center, they said there is nothing wrong, let this one come and see what it says
After we left, we had a great relationship in terms of work
The result was the first deer theater in which Mr. Hamid Hamzaei, may God have mercy on him, worked
After that, we went to work with the same children from that collection. We worked together with the petty bourgeois who had become a revolution and it was the beginning of the revolution.
– Where were these performed?
Both in Rumi Hall, at that time, student theaters were all performed in Rumi Hall.
He was very intellectual and worked in experimental theaters and everything related to the university
Although their sizes were very exceptional in the theater, they functioned as experimental student theater there.
After that, I worked in the gypsum circle at the Shahr Theater, which was probably the first professional stage theater other than Rumi’s Hall.
And then there were one or two theaters, which became the Cultural Revolution. I worked on a pair of shoes for Zahra
That he himself spent many years practicing and this way of working with a group led by Mr. Bahram Shahmohammadlou
I was, it was Mr. Tahmasb, it was Mr. Jebli, it was Ms. Razieh Boroumand and Ms. Mitra Fathi and Reza Parnianzadeh
The last performance we did was in a pair of shoes for Zahra, and I remember that with Mr. Anwar’s permission, we were allowed to do whatever we wanted in the Shahr Theater for a year.
After a very, very successful month in 1960, we could no longer work in the theater city theater because all the theaters were closed.
And especially the French theater we could not perform, the adapted works we could not perform
And only a series of things related to the issues of the revolution could be done
It was one of my dreams to start acting in French or Moscow theaters, as I was new to acting.
I thought that there is all this in Tehran and I can do it, I suddenly saw that the theaters were closed
Then I thought I would take this terrible potential of interest in theater and striving for theater elsewhere.
We started doing puppet shows on TV with our friends, that is, we turned to everything we could do in the theater and turned to TV.
Because the TV had just expanded and opened, and we could work very easily
Along with puppetry and television theaters, I thought maybe he might go to the movies
Because Farabi had just opened, cultural films were just being made
And we also came through the work of our dolls and worked the city of mice for Farabi, that was, it was the year 64.
In the meantime, I was married, had children, but at the same time I was working
In 1964, we worked for Farabi, the city of mice, and my foot got stuck in the cinema
I remember when it was time for us to rest on TV, between the recordings of our doll’s work
Mr. Jebli and I were testing our picture in front of the camera to see if we were photogenic, if we benefited from cinema.
We were constantly in front of the cameras. 7 We asked them to turn on the cameras for us and we practiced in front of the TV cameras.
We both came to the conclusion that yes, we can go to the cinema, we decided to come to the cinema
And I came right after the city of mice and worked on the movie Jadal with Mr. Mohammad Ali Sajjadi, after which I continued the cinema.
With Mr. Jebli in the TV series we did, I do not know. Mr. Jebli had a slightly wider relationship with me.
He said that I think now is the time when we can go and play in the cinema
But we have to enter with a role that is the size of our theater, not go to work
Then we should lose what we had in the theater and in our hearts we thought we were good actors in the theater, in the cinema.
As a result, after 2-3 years After the Cultural Revolution, we were thinking about how to get into cinema
Until one day Mr. Jebli told me that I had found something that would benefit you
I said what, he said there is a person named Mohammad Ali Sajjadi, they had made one or two films before him
He is an intellectual, he has studied cinema, he knows how to work, he knows theater, he wants the role of a girl, a girl who can almost be said to be from the north.
He had taken my pictures for Mr. Sajjadi, they said come and I went, they were very happy that I was found, I read theater and I want to work
At the same time, I was offered another job that Ali Talebi wanted to do
And Ali Talebi said that let’s all work together again like Kanoon, Iraj Tahmasb was the main role
Come and play Tahmaseb’s wife in this movie, it was a short and small role, I said okay
When it came to Sajjadi’s film, his first role was very important
Then I thought, how can I get there, I said, sir, I will not get to this job.
The producer said no, you have a contract with me, I’m complaining to you, wow, I thought it was the beginning of cinema
What’s going on here is very different from theater, people relations, communication, what should I do now?
Several people mediated, I asked Ms. Tahmasb to come and play this role in this film
– Which movie?
The finish line was Mr. Talebi’s first feature film and it became my first film
– You did not cooperate with Mr. Talebi in the center?
Talebi did not complain to me, the producer complained that they were Mr. Mousavi, we later became friends
They said that if the cinema was a joke, a handful of theater children came to the cinema to say what they wanted to say
In short, we were all embarrassed to be satisfied that I could find someone else to play in my place.
That I should be allowed to go and play the fight then, when Ms. Tahmasb came and played
Still telling me I was your savior, in short, they agreed even though I had a makeup test
And the clothes and the tent and the things I had taken from my mother’s house and it was there, we came to the movie Jadal
That Mr. Fakhimzadeh, Ms. Bayat, Mr. Siamak Atlasi and one or two others, and Mr. Bakhshi, who also played amazingly in that film, we started working
The first role For the first time, I thought it’s all I know
A message from Mr. Shamim Bahar, who was a university professor and I had gone to all their classes.
And through the kids who were in that job, they knew I came from the theater to the cinema to work.
They sent me a message, they told me to tell Simin that cinema is not like theater, where all their minds are together, he learns all his works better than others, so that there will never be any problems in his work.
From the first day I entered the cinema, I had practiced these with myself, to know the light, to know the lens
Know the plans, what they want to get, know the decoupage, and finally the assembly.
Mr. Bahram Dehghani was very kind to me at that time and all the days he was assembling, I went to the assembly
And I learned how to play so that there would be less trouble assembling
I came from the theater and it was very important to me, I only worked on my voice for 3-4 years to turn the crickets into an acceptable sound.
I was told that the film would be dubbed, I said no, it is not possible at all, I have to speak for myself because there was no sound on stage at that time yet
The producer was a gentleman named Sebouki and he said that the value of the film is in the dubbing of the film, what does this lady say, who did she come from?
For example, who did I leave to speak for this lady, like this and in short, I wrote in my contract that I should speak for myself.
When we wanted to dub the film, I saw that Ms. Zohreh Shokoofandeh came to speak for me, and I cried like a spring cloud.
He was 24-25 years old at that time, I used to say that I wrote in my contract, they used to say who are you who wrote in my contract, they did not accept me at all, they used to say who is this, what does he say
Many people mediated, but I did not speak for myself, but they brought the voice of the witness on stage with them to the studio, and to be fair, the speakers were silent.
They were unique
In terms of the respect and value they place on my work in my first film
I was in the studio all the time, and wherever I thought it was a little different from my own voice or how it felt, they would take my word for it and correct it.
And it opened up a whole new world for me to respect the work of others
Well, until then, they had helped all the actors a lot, but according to Ms. Kazemi, God bless them.
He used to say that your generation is not a dubious generation anymore, you play so naturally, there is no need for me to add value to your work
The value of your work is in your natural work, my stylish voice is no longer useful to you
Of course, once again, they took permission from me again, called me and spoke for me in Reyhaneh’s film, but the producer also refused to let me speak for myself.
But they themselves helped me to adjust my voice to tell my story
Summary An extraordinary connection was made in the first film with all the psychological attacks made by the producer.
For example, every day they would come and say that my daughter had interrogated you, I would say why? Did you say you dropped your children and came to the cinema?
They imagined me as a man who would later lose his whole being in the cinema.
They did not know that my seriousness in doing this was in playing, not in fame, not in money
In fairness, the children who worked in that collection, for example, Mr. Siamak Shayeghi, who was one of the very intellectual children of that period.
Or Mr. Sajjadi himself, we all had discussions during the filming with Mr. Fakhimzadeh about Chekhov and Shakespeare.
What kind of acting style is better now, where should Norton be better now, and we’ve been arguing all along about French, Russian, and German theater, and where and where
I mean, it was such a cultural space for me that the profession of a producer was a bit unusual for me.
But that was the atmosphere of cinema at that time, a producer who came up with a thought from the past and now has to make films that are within the framework of post-revolutionary contracts.
I just went to the cinema because I could no longer play in the theater, there was no theater
And I had a pause of several years at the height of my acting experience and applying my acting knowledge to the training I had received, and it was hard for me to stop myself.
That’s why I went to the cinema, I went to the cinema to use my experience in the theater so that it would not disappear
I did not come to be famous, I do not think at all that I want to get rich, rich that we were ashamed to even sign a contract to play
I was wondering why they pay me to enjoy my career, to do what I love to do
I was willing to pay and work because I was so eager to work
Not like now that they pay and play, I meant to compensate them for agreeing to work with me
Because I was an actor who did not have a very exciting Hollywood look, I did not have a body that was attractive, there was nothing
I just came in with the love of my job knowledge and well it was a lot of fun for me to work
And I wanted to change the way others think about my career, to say that acting is not just the ideas you have that you all want to ban.
The actor can have his hair out, but no one should think that his hair is out
I remember there was a discussion that Mr. Anwar himself had about me, about my work
Whatever this lady does, one does not care that a woman is doing it, she sees that an actor is playing the role of a mother or she is doing this in an actress in a movie.
Or in the movie the blue scarf is running like this and it was very, very valuable to me
Even the strictures of the Ministry of Guidance at that time were much less than a period on me
Because we both knew that I was not greedy and I knew that Irshad was not hostile to me.
That’s why a good balance had happened in the profession
One small thing I wanted to say went out of my mind, iron, about career advancement
I remember the first time I wrote in my contract that I had to speak for myself
Next you discuss with me You may not be sure, but Mr. Anwar, I talked to me about the fact that the first and second actors should speak for themselves in their work.
Two years after I started, it was one of the rules you wrote every year to follow filmmaking.
One of his rules was: the first and second actors must be able to speak for themselves
Because they were dubbing movies at the time, and it was good for the dubbing class, too, that it was hard for them to decide that there would be no one to speak for them.
They also accepted that our generation is a generation that came from the theater and we are able to have a voice and speak for ourselves.
And in many dubbings of the films, we were invited to speak in places other than our own, where others could not speak.
And it was very important to me that I was able to influence my work to influence the acceptance of correct and principled laws.
– Explain about your marriage, one of your courage
Honestly, it was a family inheritance. In the women of our family, many of them were chosen
Honestly, when I met my husband, after a month or two, we both thought we were not going to get married at all because we were talking about other things.
I told her let’s get married, my husband had just returned from Sweden, he was a political student of the confederation and a social activist abroad
He had come to Iran, the revolution had taken place, to see his parents and family and return
Coincidentally, we had an affair, and before his student card expired, I canceled it here and told him to stay and get married.
And if we did not want to, we would break up well after a year, but we are comfortable here, because it was not very comfortable to go out then.
There was a committee, then our house was Shamron and my place of work was Fatemi Street. We always walked or walked this route together.
And insight was possible. At the various stations of the committee, the IRGC was asking us what your relationship was.
Since I was not inherently deceitful, I could not say what my relationship was, so I decided to tell him to marry me.
To find a relation that when we take it we say what our relation is
And it was normal for me, but it seemed a little strange to others that I had asked my husband to marry me.
And he accepted and never went to Sweden again and stayed here
– Tell us about the product of this marriage
I was born in 1961, in November of 1961, and we have been growing up since that year.
Because he always tells me it was so little tradition, at the age of 21 I had a baby, that we grew up together
Instead of thinking I have parents, I always think I have two older friends than parents.
– This one?
Yes, this one
First, when I was allowed to go to the theater for 24 hours and get married, everyone said, “Why do you want to come to work this afternoon?”
I said, “Dad, I want to get married.” Everyone said, “Well, why didn’t you tell us? They closed the theater altogether.”
And I thought my job was so important that I could not even ask for marriage to stop my workouts.
One day for my marriage and 10 days for my son to be born, I did not just work in the theater and I was not active
The day my son was born, my belly was so big, I could not pass behind the laths, the laths were pulled a little so that I could pass and I could hold the dolls in my hand.
And after that, 10 days later, I went to work with the child again
My son studied photography here, he had made us happy before and he said that he wanted to study the natural environment and do research on the environment.
When he wanted to take the entrance exam, he told her that the truth was, I saw everything we thought, but I can not take the entrance exam except for the art entrance exam.
He took an art entrance exam and studied photography at the Azad University. He studied here for 4 years and then went to New York to continue his studies.
But here, at the same time, he was assembling in his father’s office since he was very young. When he went there, he was told if he could come here and teach our students how to use a card.
My son said that if it’s important to you that I study here, I should go to another university to study.
Otherwise, when they tell me to come and teach, it means that they have nothing to do with me Oh teach
I like to go and work and he went and worked, he has been working in New York for almost 10 years now.
What impact has this vast volume of your artwork had on your personal lifestyle?
In my lifestyle, well, when I met my husband, I was practicing a pair of shoes for Zahra at the same time.
And we did not talk about marriage at all and wanting to live together, but I remember once we were talking about our work.
And my husband said, “What if you do not have a card?” I said, “What do you mean?”
I said no, forget it at all because it is my job and you are not, that is, I told him with a firmness at that time that this is my life
It’s not like I think I’m working at all, it ‘s like telling me what happens if you do not live, do not breathe.
My husband said I have no intention of that at all, I had no intention, I just wanted to see how important your camaraderie is to you.
As a result, we did not think we wanted to start a life, or I thought, or my husband, we wanted to see what we could do now.
I have these working conditions and now I want to see how I can live with it
And in all periods of my life, my work has been the main point of my life and everything is affected by it
Well, as far as I could, I was raised in a traditional family-friendly family, and I naturally incorporated that upbringing into my life.
I mean, I cook very well, I do housework, I do all the work myself.
In addition to the fact that when I am not my husband has all those responsibilities, my son grew up like us
He also learned how to dictate to himself, how to listen to my advice over the phone.
As a result, we continued to work with one, I do not mean style, an affected lifestyle, a real-life lifestyle. We started to continue together
It was not something I wanted to try or invent or want to impress
It was not affected, it was hidden in our lives
– Then how do you balance the two, that is, between your private life and the cartoon? Do you not strike any balance?
No, he has to balance himself, he’s like a baby who has to swim when you throw him in the water.
This is how our life became, we learned to swim in this way of life from the very beginning from birth, what we should be like
He can balance it as soon as he is himself
I remember one time I was working on TV from 11am to 11pm
When I came home, I saw, for example, some guests sitting in our blood and arguing about theater and cinema, about literature.
I was just making vegetables at 11 o’clock at night and at 3 o’clock in the morning I would give all the vegetables to eat.
And that they would not come out of our blood uneaten, then I would just do my homework at 3 in the morning, go to bed at 4 in the morning, and at 7 in the morning I would send my children to kindergarten.
It means that if you invest in yourself, you will get everything you do
If I thought I had come home from work for 11 nights, tired, what should I do, sitting down or waiting for someone else to cook at home, I would be fine.
But I did it with love and I invested in myself, my husband and my son also learned to invest in themselves in life.
And it’s not hard for me, because at one time I had so much money that I did not know what to do with it.
We don’t even have a car until we pay for a taxi from the small amount of money we collected in a jar next to our room.
It’s not hard for me, I get the same pleasure out of life when I have no limits to anything
It has rarely happened in my life that there is no limit, no financial income and nothing else
But I want to say that you are as happy as you are to have nothing
Part 03
The collection of puppetry between the years 60 and 67-68 was all the work for the group in which we worked together.
Those of us who worked together the most in TV series, Mr. Kambiz Samimi Mofakhm was
Mrs. Marzieh was Boroumand, Razieh was Boroumand, Hamid Jebli, Iraj Tahmasb, Bahram Shahmohammadlou, Hassan Shirazi
Ms. Azadeh Pourmokhtar, Marzieh Mahboob, later Donya Fanizadeh and Ms. Shadi Pourmehdi, we were mostly in this collection working together
The same collection that was in the center at different levels, for example, Mr. Mofakhm and Ms. Boroumand were from previous periods and were bigger than us.
They came and worked on TV and they hired us and we started working together
With this set of TV works, a series of puppet shows were naturally performed at the same time
I mean, I always put theater and puppet theater together
Because the war had started, naturally we were also affected, by the way, the group I worked with in the student theater.
Most of them were from Abadan and were from the south and studied in fine arts. They were very impressed.
Because all their families were there and they had migrated, and this wartime turmoil had naturally passed on to us.
And we worked 2-3 times where the writing and everything was related to the war
And a part of the reality of the life of the same group of people who were in our group and we worked together.
– Sky string, inside and out
Yes, Sky and the String was the first puppet show to be performed on TV.
It was the story of two children whose ignorance or curiosity or questions or issues that may revolve around children’s issues
We worked with Mr. Birang, the presenter and writer, and Rasti
Inside and out, like all of our puppetry, it was puppetry for children and we did educational work.
About their health, their mental questions and their relationship with family and friends
We also worked with Ms. Pourmokhtar in a very, very artistic format, all of this in a collection of children’s works.
– Go to the neighborhood?
Go neighborhood, come on, on the contrary, at that time I was a theater actor and I had started working in cinema for a while, that is, I got acquainted with cinema.
But I happened to play in the place of a puppet, and I was both its voice actor and its puppet director
A doll named Koleh, who, because it was so hard to want to use the baby, also had a fantasy in it for her behavior.
All the actors were alive, the only actor in the series who was a puppet and I was working was that stupid puppet
– The school of mice was also very noisy
Yes, we did the school of mice again with the same team we always worked with.
In the 60s and 68s, our collection worked on everything from puppetry to television
The core of which was Mr. Samimi Mofakhm, Mr. Jebli and I, the others sometimes came or were in some work or not
Later, Ms. Hengameh herself was useful, in many things she was Ms. Boroumand, Ms. Mahboob and Mr. Tahmasb were the same.
But the set of 60 to 68 puppets on TV was something we mostly did.
And after that, at the same time, I was working in the theater and I had curiosities about going to the cinema
– Tell us about the formation of a pair of shoes for Zahra because she did not have a text and it was formed gradually.
The formation of a pair of shoes for Zahra was actually the result of a year of improvisational practice
Because the way the center taught was improvised, you were in the moment and had no precedent for anything.
If you remember, in an appointment that Mr. Anwar and his colleagues came to the Fatemi Street Theater Unit, Fatemi Square
We were asked to say what we were doing in the year we have been rehearsing, what the product of the cartoon was.
They gave a topic and we started working and then 2 topics, 3 topics
It was a bit of a surprise because whatever was asked of us from outside, we could turn it into a show.
As a result, it gained a lot of trust for a group that has been without a performer for a year They work
Because after each training, another person had to come to that hall and practice
We had that hall for a year, when you saw our collection of works, you added another year to our works, and now you can only perform this one year.
And in this one year, the result was a month of performing a pair of shoes for Zahra in the city theater in Chaharsoo Hall.
After that, because the theater was closed, we did not continue
– And the show of arsonists?
Firefighters was performed at the Shahr Theater, directed by Mr. Mehdi Miami and starring Mr. Parastavi, Mr. Khamseh, and Ms. Maryam Motaref, who we worked with.
After the arsonists, I worked with Richard III with Mr. Rashidi and a collection of old and new actors.
– In which theater?
In the city theater, the main hall
After Richard III, I think I worked on the terminal, which was the open terminal in Rumi Hall.
And after 30 years or 20 and a few years, I had returned to Rumi’s hall in an atmosphere that was very pleasant for me.
But at the same time it was a series of social changes and it was a bit difficult to work but it was enjoyable for me.
After the terminal, I met a group that was all a collection of young children who had entered the theater.
And Mr. Ehsaei, who was the writer and director of these works, and after that, we do at least one theater play together in our collection every two years.
Which was the terminal, then there were letters to the fever
– Was Grandma also brave?
Nana Delavar was a live puppet show in which Ms. Sabri, one of the best in the world, is involved in puppetry and creativity.
Ms. Naghavi, Ms. Pesyani, Ms. Behnaz Jafari and I were the 4 live actors of this series and the rest of the characters were puppets.
Then live drawings were moved with a doll and we performed the play of the brave grandmother and her children.
– Where did you perform?
We performed in Chaharso
For a while, there was a festival that we worked on in Iranshahr, but we did its public performance in Chaharso
Chaharsoo is actually the best salon we can work in
There are many, many halls now, about 200 private halls are now in Tehran and the shows are full every night.
They are now working better than government and public halls
But for us, who had started the theater before the revolution, the best hall we could work in was the Chaharso Hall.
It was very different because you could change it and the relationship with the audience was very different.
My most successful work has always been either in Rumi’s hall or in Chaharsoo
Ms. Sabri is one of the exceptions to puppetry, she is very accepted in Iran and in the world
Probably one of the best in the world in puppetry, they are extremely creative and literate.
For example, their dolls are now on display in Spanish museums for a long time and even a few years.
They even asked traditional puppets to make puppet museums for the world’s most important museums.
– Do you mean directing other than puppetry?
Yeah Al that sounds pretty crap to me, Looks like BT aint for me either.
– Are they Iran?
Yes, yes, they are very diligent. Here, they also work in the city theater complex, that is, they are among the employees of the city theater.
Part 04
Again, with a group of theatrical children of that time, we went together to make a gift film.
The gifts lasted for a year and a few months, almost 11 months, there was a stop between the gifts and I went and played the movie Dowry for Rabab in Kish.
I came back with Mr. Shayeghi, who we met in the movie Jadal, and we finished the continuation of the movie “Gifts”
This means that the film lasted from one summer to the end of winter of the year, and the vision was closed for several months due to lack of budget.
I also went and played the movie Dowry for Rabab, which is one of the best movies that I like and am interested in.
The film was made in twenty days, again under pressure from various producers to work hard.
After the gifts and dowry for Rabab, I think I came and worked on the film Yad and Didar
That Mr. Rajab Mohammadin wanted to do a completely experimental work and the voice was on stage
And very good things happened in the empirical realm, but I can not say that at that time it was a job more professional than, for example, a dowry for a rabbi.
They happened to be more professional films, but this was a special experimental film
There I met Mr. Touraj Mansouri, who was the cinematographer, and I met Mr. Shah Ebrahimi, the stage designer.
And little by little, the connections of people who had been educated and entered the profession were expanding
That is, little by little, the producers accepted that a new generation had grown up in their eyes, because we were interfering in everything.
I was interfering with the lighting, I was interfering with the decoupage, not interfering, I knew what was wrong and what was right.
I knew the lens, I was even starting to speak and the sound was getting louder on stage
In my opinion, this was a revolution in our cinema after the revolution, which was carried out by Mr. Anwar
And it became the law that the actors should speak for themselves, the first and second roles should definitely be those who are trained in this profession, so their voice is a voice that can be used.
Then I think I worked with Mr. Sajjadi again on the film The Missing, which had about 5-6 roles in different characters from different ethnic groups in Iran.
They made parts of it in the montage, but it was interesting to me that I got 5 different types of makeup from 5 to 6 characters in that movie.
One thing that happened after the revolution was that they started forming cooperatives to invest in films
That is, 2 people, 3 people would come together and make a very small investment
They got some help from the government and started making films
As a result, the pivotal role of the producer, who at the time said that the value of the film was the dubbing of the film, and who he was, this theatrical kid who came and said, “I came to work in the cinema,” had changed a bit.
Mr. Mousavi, who had complained to me at that time, now offered me to play in every film they made.
One of those films was Cargo, which Mr. Alvand wanted to make in the filmmakers’ cooperative.
It was a short role, but it was interesting to me, I said they paid me then to get acquainted with the camera
I started with Mr. Ayari, who was filming him, Dariush Ayari, and asked them if they could teach me how to work with the camera.
Whatever plan we took, the vision that came the distance, Mr. Ayari was very kind and taught me the lens and the light and the distance of the camera and all that.
As a result, I always say that movie to myself, they gave me 40 thousand tomans at that time, it was too much for a small role in a movie
And they gave me 40 thousand tomans and I was taught how to work with the camera
And after that Mr. Alvand Hey told me that this is not the role you should have played, I have to write a role for you
Before I wanted to work with Mr. Alvand once and for all, we had done a few different things with Shayeghi again and in the south.
Star and Diamond movie, which we worked on again with Mr. Jebli and Ms. Ghasemi
We were still not very separated in the cinema, like children who came together from the same family.
Almost everything we did was different, we reassured each other that it was a good thing, go or criticize each other
– You supported each other
We supported each other, yes
– Mental supporter?
We were both mentally supportive and others realized that when we work together, there is a great deal of energy in that work.
Tahmaseb and I worked together on the dowry for Rabab, which had a very good result
Also with Jebli in Star and Diamond and the gift films and previous films we worked on together
This is how it started all at once and I got more important roles because I was working on a role that was the focus of the film.
I decided with myself that I would not be forced to play the lead role in order to experience it
As a result, I played a leading role in the movies, a sub-role, I played two leading roles, a sub-role
I mean, it didn’t matter to me at all, I was learning and receiving from the cinema about what I had
The most important film that became very important during this period was Reyhaneh
I remember that Mr. Entezami once told me in Azadi cinema
My daughter, I thought, who are you that you came and did the work and I liked it very much, I said this is a very talented child, who told me that he has played 8-9 movies before.
I had also acted in 2-3 films that had not been screened yet, because the films had to come to the festival and then be screened.
In Yazd, I had made a film called Barhot, with Mr. Talebi
I worked there for the first time with a Yazidi accent
I really liked that film, we worked with Mr. Zahed and Mr. Mahjoub as an actor, Mr. Talebi was also the director.
– Did you get an award?
I got an award, I was playing Reyhaneh’s film, they said Mr. Clary should go to Tehran, we were working in Kashan
They said that one day they should go to Tehran and return, because they want to give him an award
Mr. Clary came to Tehran and came back and brought 2 prizes with them and said that one is for you.
I said why did they give me an award? They said yes, because of the nonsense movie
I was very surprised, at first they did not tell me or they told the director and he thought that if he did, he might get upset.
Because the directors are always worried that if the actor gets a little bit away from them, he might get out of this space.
Then I said why they gave me an award for nonsense, because I had previously played, for example, Dowry for Rabab, which I thought was a very good movie.
Or even the movie Jadal was a good movie in its period, we came to Tehran and got the award and they said it is a celebration.
In short, I once asked why I was awarded for this film, and they said that you spoke so sweetly in the Yazidi dialect.
I said that I had more important and better films than this, they told me that we had to stop and see if you are from this cinema at all or not.
In fact, this award is for your previous films, but we found an excuse to give you an award for this film.
We made sure that you are no longer in this cinema and you are a monkey in the cinema, you did not come for fun or to pass.
Because many people went to the cinema at that time and after one or two films, they went to two films, the hard work was unbearable for them.
Nasser al-Din Shah offered me a cinema actor, Mr. Dadgoo was his production manager and producer at the time.
They came and offered me to play in this movie, I said who wants to work, they said Makhmalbaf
I said I do not like him at all and I do not like his movies
The movies I saw because it was all about a certain set of people and it was a slogan and it seemed to me that
I mean, for example, to make a repentance of Nasuh, I do not know how to make this, none of his films was pleasant for me at all.
They gave me the script and I read it, the electricity jumped out of my head, I thought I would say no to the role I was offered!
Is it not possible at all to do such a thing, the role of Lor’s daughter, the reconstruction of Lor’s daughter, the role played by Ms. Tahaminejad
I said, “Mr. Makhmalbaf, I will work back and forth, although I do not like you or your films, but I will play.”
He said, “Oh, how interesting, by the way, I can not work with anyone other than you, because no one has ever told me what you did.”
I was in control of myself and my work and I was sure what I thought was wrong and what was right
That’s why I do not want to say that I was overwhelmed, I told Mr. Makhmalbaf the idea I had about my job and I was very bigoted about it.
And I can not tell you what a window of experience opened to me
First, they gave me the film Lor Girl, I said that I speak for myself, you know
They said that but if it is not like that, I can not allow you to speak
I said give me a deadline, it was 2 months, because they were always ready for work a month or two before and they did everything.
And then they were filming, it was not like now that they give you the script today and say we want to shoot next week and this is an unreasonable thing still for me
We had two months to start filming, I filmed Lor Girl and for two whole months I practiced all the sounds of the actor’s voice and all his accents.
Even the movements of their hands, which were fine, in detail
After 2 months of filming, I told Mr. Makhmalbaf that you should see my work. If you do not like it, then I can not be an actor at all.
Do whatever you want, but if you see that there is nothing wrong, you are not allowed to dub my voice, they said ok
We filmed and Mr. Makhmalbaf did not say anything, he said no it is acceptable, okay, everything is fine
I even practiced my eyebrows and eyebrows
Mr. Makhmalbaf came and said, “Look, I can not do this to let you speak for yourself.”
You speak so well that I replace your voice with the original voice
They put my voice on the main sound of the movie and they put the main sound of the movie on my voice
He said you are so similar and it is so one that no one understands that I want to do this, I want to tell you to be comfortable and go work
– what does it mean? I did not get?
That is, the sound of the documentary we had, the voice of Ms. Tahaminejad in the film Dokhtar Lor and my voice in her reconstruction in the film Nasreddin Shah, a cinema actor
It was so similar that he said that when I move it, nothing is less, that is, everything is similar.
– Well then why should he move?
He wanted to say that he valued my work so much and that I accepted what you did.
And during the film, Mr. Makhmalbaf was so creative in the moment and like one, I can say this term, he was like a wild horse, like an unrestrained horse, the air jumps
And it was so ingrained in his mind that what he wanted to do, he just said and did.
He would say and do it himself, and he would even film from Kabul, so that sometimes he would even support the actor who was going to be on stage.
And that was an exceptional thing for me, all the actors who worked in that film all had more experience than me.
And they were all masters whose work I had reviewed, but the role he had told me was like a fantasy to me.
I never wanted to play for someone or imitate someone, but that was an exception.
Which resulted in Nasser al-Din Shah being a cinema actor and I still think it is one of the best films in the history of our cinema
And in it is everything, intelligence, creativity, respect for pre-revolutionary cinema, valuing post-revolutionary cinema
And basically a homage to the love that a human being can have for cinema
Part 05
I came into the cinema, I became a famous actress, almost everything that was made about a young woman was definitely offered to me.
Then great directors came and offered me a job, some of which I accepted and some of which I did not accept again because of the script.
But the result of what I did was an exceptional work with Mr. Beizai in Passengers and what I did with Mr. Makhmalbaf
Regarding the passengers, Mr. Beizaii knew me well from the theater. The children of the theater had a very close relationship with Mr. Beizaii.
Everyone who worked must have invited Mr. Beizai to come and see their work, and he did so with great humility.
Especially if it was a play that was their own work and I knew Mr. Beizaii from the deer I had worked on, they had seen my films and we had a very close relationship.
At the beginning of the film, the passengers suggested that you come and play this role. I really wanted to, I mean it was difficult for me to come and play a small role in Mr. Beizai’s film.
When his first role was so brilliant and there were so many ups and downs
In my heart I thought I was the best person to play this role for them
But they said that I was looking for a young girl, 18-19 years old, not you who are now, for example, almost 30 years old.
I agreed to do it, to say no to the ellipse at all
I proudly accepted, my heart always wanted to do something different
When we started filming, I saw no no, not at all, I am not willing to be in Ms. Shamsai’s place at all
Because they only obeyed, they were not allowed to show any creativity or anything of their own, because Mr. Beizaii knew everything better than anyone.
The only thing that was very interesting for me and it happened was that Mr. Beizaii told me to do whatever you want
While other actors were not even allowed to move their seats
Because they knew everything better than others and were in control of everything, they knew the light better than the illuminator, so did the camera.
As for their scenes, their costumes, in the dialogues it was impossible for you to move an “and”, the whole system of dialogues was falling apart.
I remember that once we were filming, we got a plan, then Mr. Beizai said that we would repeat
Everyone said why, what happened, they said it was all over the yard, we were working in a very big building
The camera was here and a very, very beautiful shot, several people were entering the yard, from here everyone was going to greet them.
They said at the bottom of the yard, on the wall I had told you to drop some leaves, none of those leaves remained during the filming.
That is, only a genius can be so in his scene that there are more than 20 important actors and they have a dialogue when they are leaving and Mr. Beizai has seen that fallen leaf.
When I was told okay, do whatever you want, do it, I just look to see what happens
One day, two days, of course, we got into a fight, and for a week, I was angry with him and we did not talk at all.
After a week, I said, “Mr. Beizai, see if this move of mine is good.” They said, “Come, come, Motamed Aria spoke to me.”
I told everything to their assistant, Mr. Pesyani, and then a miracle happened to me again.
I did not know that these dialogues I am saying, maybe it’s so important
Is it possible that someone wrote so correctly that you can not even move a vowel?
I was so eager to work and Mr. Beizai was so open to me to work, my energy was more than the space in which I worked.
Mr. Beizaii told me that Simin Bia, we control these artists who come to work with Attila
Come and work with them before they come in front of the camera so that they can work more easily
Well, that was very important to me, that is, they gave me a lot of confidence in everything and it was very valuable to me
I did this and then it was the Fajr Festival.
I always said oh my God I love Naser al-Din Shah very much, I think because of this gives an award
Then I came and saw Mr. Shoja Nouri, he said, “Mrs. Ajab, you did something.”
He said no, I’m talking to the passengers, I said oh, maybe a role that was not very important to me in that film could have been seen so much that they would not see Naser al-Din Shah
And they rewarded me for the passengers, in disbelief, and when they explained to me that it’s good to have such a characteristic of being seen so clearly in Mr. Beizai’s work.
And I saw nothing but Mr. Beizai being able to pull me and my abilities out of me and use me in the simplest form.
It was great for me, I got 2 awards, both for 2 supporting roles
Then we worked with Mr. Makhmalbaf again, a professional art film
We worked in art, when Mr. Makhmalbaf came and said that there are three of you, me and Ms. Petrosian and Mr. Abdi.
Three monotonous characters, like improvisations, started working with us, giving us a scenario that all three of us said was not good.
Mr. Makhmalbaf said that every day we bring this scenario forward from the point of view of one person, one character
One day Ms. Petrosian, one day me and one day Mr. Abdi and we were talking and Mr. Makhmalbaf was telling a story.
A month later, they came to the same story of the actor’s film that we worked on together
Well, one of those things was naturally in line with the relationship in our minds, and it wasn’t quite, but there was still a terrible madness in Mr. Makhmalbaf.
And he was destroying everything and moving forward to make this film
When we were working, I thought it was the worst movie of my life that I was working on, I thought there was an exaggeration in it that did not suit me.
On the other hand, she was the role of a woman who gradually became an insane woman and went insane and disordered.
Then a very modern thing happened in the costume, in the decor and even in the filming, Mr. Saati was their first feature film that they were working on at the time.
Everything was above what happened in our cinema day, and maybe this difference scares me
That’s why for years I thought the worst movie I ever played was this one
When the film was finished, it was shown at the festival. Before it was shown, I was invited through Mr. Alvand to film once and for all.
The film was being shown. In a private screening, Mr. Shakibaei went and saw the film
When they saw it, they came and said that you know that you scared me, I said oh God, what happened, I said why Mr. Shakibaei
They said that someone who has worked as an actor should come now and sit next to me and play once and for all? That’s a huge movie, ma’am
I said he was making fun of me because Mr. Shakibaei was a bit exaggerated in expressing his love for Adam.
We started working once and for all, every time we practiced, he would say, “Mr. Alvand’s father, you know what he did, he played this actor, and now he has come and is sitting here.”
I thought they were joking with me and harassing me
It ended once and for all with the amazing connection between the group of bands we worked with
Mr. Farhad Saba Cinematographer, Sirus Alvand Director, Mr. Shakibaei Actor, I am also an actor
And a collection of young children who had entered the cinema energetically and were all intelligent
It was made once and for all when Mr. Alvand went to our rehearsals and brought us a series of new dialogues every day.
Mr. Shibaei and I were rehearsing, recording our rehearsals with the camera, and tomorrow you would suddenly see that they wrote 3 new versions of our dialogues, and one was better than the other.
With a lot of continuous and very decisive training, Mr. Alvand wrote the script and we played it once and for all.
Which I thought was part of my heart is always hurting for this movie because it was about war refugees
Regarding the war victims who came to Tehran and this displacement and this rebellion
I thought, I’m still thinking, I think the innocence of the woman in the movie
The poison that is in the film once and for all is the innocence of all immigrants, now we had that period of war immigrants, immigrants from all over the world
There was an innocence in Zahra’s character that you could not be influenced by it
And every time we worked, even though I had learned to be very distant from the role
Really, when we were working on stage, I would jump up, jump down and laugh.
But when I was working, I thought, oh my God, what an injustice to immigrants.
Now, it is not certain that a person in society, even through her husband, that is, the closest emotional relationship, differs in immigration.
And when we made that film, I told Mr. Shakibaei that now you see that there is another film better than the actor.
When I was awarded for that, Mr. Entezami, I think, was the judge
And I was told that your daughter confirmed your arrest with this film, I said no, Mr. Entezami, this role was an exceptional role for me
And I still remember his dialogues, sometimes with Mr. Alvand when we see each other, about the movie we want to talk about.
First we start saying the dialogues of that movie, you do not want to, honestly, in your thirties, my thirties
Everything was full of suffering for the immigrants of the war at that time, because during the war we were working on all of this.
And I thought maybe I could transfer a part of my aspirations to war in Zahra’s character to my community.
Without any slogans, because it is a very delicate film, especially for this character
Well, once upon a time, it was a very important professional point in my work and I was very interested in it.
When the actor was shown and there was a lot of criticism of Makhmalbaf, the film and me and the whole series, what film did they make?
But at the same time it was a very, very different and successful film
I had 2 films that were different, an actor and once and for all
I remember when my son, who was 10-12 years old, watched this film together at the festival
– Which movie?
I remember the actor beautifully who was in Quds cinema in Valiasr Square
My son had a fever when he saw this movie, because I play a crazy woman in the movie.
And where this woman is sick and has a radiopaque career and is inflamed by this transformation of her mind.
My son got sick from seeing my patient and got a fever, we had to get up before the end of the movie and I took my son home and then medicine and the doctor and these
And we collected all the photos that Mr. Makhmalbaf sent me from that movie from inside the house
Because seeing them, I even took his painting, which was one of my big photos, to my mother’s house where my children could not see, it had such an effect on him.
It had the same impact on society, it was very interesting for people
The audience and the critics, which is a role that is insane and one understands everything, is different at the same time and does not look like ordinary madness.
The success of these two films, one actor film with a series of criticisms and a film once and for all, made me believe in the cinema that I can play different roles.
Now the scenarios they sent me were no longer the same
And then I think I worked on my wife’s film, in my wife it was probably the first time I could reject the critique of Ms. Mihan Bahrami’s films
It was said that she has always played the role of a city woman and her tragedy
Although the actress was a different role, it was the first time in the film that the wife was a socially oriented role of the day, it was urban.
She was the first city woman we saw active, she is a manager, she can work
Before that, well, all the roles were women who, even if they were central, were not active women in society.
This was the first time he had shown a woman who was both a mother, a wife and a boss
And her success was exceptional in that era of our cinema because they saw a different form of woman
For this film, too, I received an award.
– Who was the director?
Mr. Fakhimzadeh
Wife became the focus of a number of subsequent working relationships for me, even when I remember being shown the film.
Both at the festival and on its public screens, many people came and kissed me.
They hugged and said
Thank you, I was my husband’s boss and, for example, I endured all these tragedies, but I resigned and came home
Someone would come and say that we were in the same situation and unfortunately we broke up
And there were fewer people who came and said that we resisted so much that we both saved our lives and became our husband’s boss.
It seemed to give women a sense of self-confidence to make sure they could
I was not involved in this, this was a very, very good script by Mr. Fakhimzadeh and their own unique direction.
In my opinion, they are really one of the most knowledgeable and informed directors of Iranian cinema
And their mastery of the work and their confidence in what they wanted, well, the courage came from less directing that
Focus on a film about a woman who is no longer a village woman or a housewife and is not supposed to do simple things.
At one point, they had to dominate the dramatic atmosphere of their work and do it differently.
Mr. Raeisian, with whom we had worked on Reyhaneh’s film before, sent me a script and said that it was Mr. Kiarostami’s script.
And I liked it, there was an everyday monotony in it that made me feel good.
A woman who wants to do what she loves all the time because of her daily tiredness, but never gets a chance.
He wants to go to the place he loves and see the sunrise in the morning, for example, but he never gets a chance.
Well, the script belonged to Mr. Kiarostami, it was a very positive thing for me
Mr. Raisian, with whom I had worked with Reyhaneh, and I liked the way they worked.
We worked on the trip in absolute silence, only one day Mr. Kiarostami came to film us
And their minds were fixed on how hidden their own gaze is in the film
They gave some tips or they really liked everyone who came to work
For the first time, for example, I saw Mr. Panahi there, Mr. Kiarostami came to go on stage, I was in our dormitory
They had arrived but did not have the address of the scene, they came and we went together to see the location
There was a gentleman behind their car, they said that I would introduce him to you, Mr. Jafar Panahi is one of my very, very good assistants
And they will be very good filmmakers in the future, they had not made a film yet, Mr. Panahi
I met him there and we came on stage, after that nothing special happened in this movie
Everything was in absolute silence, it was like the movie itself, many critics did not like it
I can not say that he was welcomed in many different places in the world, but I liked the film
There was a simplicity in it, I like that simplicity, maybe they will show the film now, people will like it more than in that period
After the trip, I worked on a blue scarf with Ms. Bani-Etemad, with whom we had a work experience in the film Gifts when she
They wanted an assistant to make their first film
I had seen Ms. Bani-Etemad’s films before and I was very wishful that I could work in Narges.
But Ms. Razavi was so good in that movie that I never allowed myself to even express interest.
But it seemed to me that this was an exception I had missed
But someone had played that you could not say you could have played better
We worked together in a blue scarf with a lot of ups and downs, so that Ms. Bani-Etemad and I could work together again.
Getting a Debt Consolidation Loan is almost never a director I’ve worked with.
Or I did not faint on stage or he was not angry with me
I was always faced with a very serious conflict in my work and I had a very serious struggle to get the director’s beliefs or to convey my own opinions.
Ms. Bani-Etemad was no exception, although she was the first female director I worked with, and apparently we had to move much more slowly together.
But we went forward with open struggle and the result was this unique and exceptional film in the history of our cinema, the work of the blue scarf.
I wanted to start a blue scarf, before that we started working with the Red Hat team on the Red Hat
I don’t think the red hat was too serious for me, it was just what we always did
Mr. Tahmasb, even on stage, never told me what to do now, he told me here that you know what to do.
And I knew from my past perceptions, from Mr. Tahmasb’s comments, what I should do here.
I mean, my guidance as an actor through Mr. Tahmasb was just coding that, as you know, we did not need any explanation.
It was the end of the movie that they offered me the blue scarf and their planners could not arrange it very well.
I was dying of anxiety that a scene from the red hat was left and I was working on a blue scarf.
I did not understand how to make a plan of a movie at the same time as a movie you are playing, go play and come back
In short, with an embarrassment, with an anxiety, with an excessive worry, a plan that remained.
Two films that were very different again, both films were very successful films in their own year and were among the top films.
There was a blue scarf at the festival that year, and I remember hearing this dialogue from Mr. Hatamikia, who said
Motamed Aria, who plays well, why should he be given an award, they were also saying this in the field of art.
Then I said what it means, if not, at that time I had won 4 awards in a row
I was even told that Ms. Motamed Aria was giving dinner and lunch to a guest in her blood to win an award, I heard this
I was very interested when I heard that it was said that this lunch and dinner would be awarded.
And I thought it didn’t matter, I was just happy that everything I do is seen and mattered.
Those years were really like this, if something did not win an award or would receive an award, it would be better to say this
When a film wins an award, it means it is very valuable, it means it is very important, because nothing but cinema was involved in its evaluation.
You can not see any film in the 60’s to the 70’s that has won an award and its award was not right.
Or it was a worthless award, the award was a very good criterion for judging a good film, for the film just not for the actors
Well, I did that and then I saw that I went back to working as a child, in addition to children’s theaters, we also work in children’s cinema, after the city of mice.
When these two works were so successful in two different situations, I said again, well, I’m doing my work in the cinema.
So I can go and do some things that people like more and like.
I do not know what I did next
– Life?
The film of life, like the film of Safar, was very quiet and the film of Orumi was held because it was a time of strange events in the cinema.
That is, each filmmaker had an advantage over the other in expressing his or her feelings, or showing his or her technique, or creating different characters.
Or the creation of a different creative cinema at all, so if something special did not happen in a film, it would come down very soon.
From Mr. Taqvaee, Mr. Kimiaei and Ms. Bani-Etemad, Mr. Ayari, all made films that were different.
I mean, you could not tell me to watch this movie, it does not matter if I do not see that one, you were eager for the next movie and the next movie
As a result, the film of life remained calm in the excitement of Iranian cinema for a while in its simplicity
Mr. Asghar Hashemi had seen that Mr. Shakibaei Tu and I worked together once and for all
In the same office where we worked on this film, they suggested that you come and play this film with two people again, but again with 2 different roles.
Mr. Shakibaei, another role, I have another role, he is a professional poet and a lover of many professions, and so am I.
In short, we played together again, but in two different roles in the movie Life
The film Sunny Man was also with Homayoun Asadian, who was one of the children of the center, and we worked together a lot.
From the dowry for Rabab that Asadian was the photographer of that film and he was filming at all until the film Man from The sun that again offered me and Jebli to work together
Jebli and Akbar Abdi and I, because we also worked in television, we also worked as children, this working relationship between us 3-4 was very good.
Assadian suggested that we do that, and we moved the role up and down a bit
And because the film had to be shot in Japan and there was no budget in our cinema to send a group of 30 people to Japan at once
By sorting money from here and there and from a producer who was not very rich, I can say that he can or has the ability to make a film abroad.
For the first time in an independent cinema, a film went and in Singapore we started filming Sunny Man
Mr. Esbati made all his interior scenes in the decor here
We filmed all of Japan’s domestic scenes in Iran, as well as its foreign scenes in Singapore
This was the last film I did quietly in the ’70s
Because then suddenly there was a strange coup in society, in the cinema, and a very strict ban was imposed on me.
Watching a private family movie and that you insulted the sanctities of the country and all the lies that I do not want to talk about here at all
And after the movie Sunny Man, my kids and I traveled and emigrated from Iran for a while
Forced migration, because I did not have anyone in the city who could get away from this space, an unusual space that I could not have imagined at all.
An actor who always adhered to everything moral, not forced, I believe
I overlooked everything, I observed it, I was interested, I tried to make the roles I play, each one better than the other.
Or the character of the women I play is not humiliated women, I introduce a positive burden in society so that women feel safe and remembered
All the things in which I had realized my mental ideals in the cinema and I believed in it and I was very strict.
But I was never in shape, I was not in a changed shape, I was the same person who decided to do a good job in the theater at the age of 14.
It started and I still believed in them, but no one had ever seen me different.
I had not spoken to anyone, I had not spoken to anyone, I had not spoken ill of anyone
So what made them treat me so badly that they took me and sometimes interrogated me?
It was a surprise to me that I was placed in a hall where all the prostitutes of that time had gathered.
And they were denouncing the behavior they were doing in the community and they were denouncing me for my cultural work.
This contradiction was unbearable for me and still is
I was so overwhelmed that I was like a person who has a momentary stroke and is forced to stand up but is still alive.
I was standing to see what had happened, I did not understand how they could have taken a private tape from my sister
And they saw my family movies and then they said you did it, you did it
Now I do not want to talk about these things at all, I would rather say that I migrated after Sunny Man
I was not in Iran for 7-8 months, my husband told me to take the child and go so that they would not harm you
They also threatened me a lot and wrote to me in the newspapers of Yalsarat and these very corrupting lands.
Everyone described me as having no memory, and my co-workers were very scared, and everyone hid that they were friends with me.
And I thought, well, me and my husband and 3 friends who were convicted together at the same time
I went to Paris, Mr. Tahmasb went to Canada, Mr. Jebli stayed here and worked under another name on TV, he wrote.
And Ms. Boroumand in the same way, in short, we became a forbidden group
And everyone told me it was short-lived and a year, because you work in cinema and you are famous
I went and well, the Iranian ambassador there helped me a lot to calm down
Many also asked that if you want, we will do everything for you in Paris, but I only went to school with my children.
Mr. Rafsanjani’s daughter came to Paris and found me at the embassy through my children’s school
They called me and they came and we talked and they said why are you here, I said the situation is like this, I have received a lot of threats and ugly behaviors and a lot of insults.
Hey, they told me to come back, I said no, I will not come back
At the same time, everything was very different from Mr. Khatami’s election, and well
I came back at that time, I remember very well that Bahman was over, and Esfand, the month I went to, Esfand, 76
I came back and then everything passed and it happened well and all those people who on TV made me look like a very inhuman interrogator and very bad behavior
They all came and congratulated me that I was back and when I was walking in the street, people would come and say in my ear
Ms. Motamed, thank you very much for coming back and leaving, no one said anything else.
I remember that the celebration was the end of the decade of Fajr, it was delayed due to religious ceremonies and it had fallen in winter.
Everyone was eating, I was invited by Ms. Rafsanjani, Faezeh Rafsanjani
They had a ceremony for Muslim filmmakers around the world, inviting women artists from Islamic countries
Everyone had come to the Evin Hotel, the ceremony was being held right in a hall
In the other hall was the dinner and the end of the Fajr festival
I do not know all at once, I had severed all relations with the cinema in these 7-8 months
At the invitation of Ms. Rafsanjani, I came and went to a hall that was international and different artists came from different parts of the world.
We talked and they introduced me to who I am and then they said that yes, there is such a ceremony in the next hall.
Suddenly, something, a bulge in my mind, as if I wanted to take revenge, was created by my absence in this period.
Because everyone had written to me all the experiences they did not have, that he was from this, that he was like this, that he was like this, that he was a corruptor of the earth, like this and like that.
I said I came to Iran, they thought I would not come back, I came from this hall to the opposite hall
And I really heard the sound of spoons and forks coming from the hands of my dear colleagues who were hiding my presence and their relationship with me.
No one greeted me, only 2 people, Rasool Mollaqlipour stood up and said not to hurt your hand, thank you for coming back
And Mr. Calligrapher who told me you were welcome
Mr. Calligrapher knew me, I had told them all the problems that had occurred to me.
They just told me to be patient, to be sure that you would come back one day
I thought I could never go back, because I was told to be a corruptor of the earth.
Then I came back and only Mr. Hooshnavis got up and said that Ms. and Mr. Malakalipour were very welcome.
No one dared to greet me, no one
As soon as I entered, they lost their spoons and forks and were terrified of seeing me.
It was enough for me, as soon as 2 people were found who were brave at that time, greeting them with me, these 2 were enough for me
I came out of it and left my connection with all those people in control forever, saying that this is their size.
I put them aside and always looked down on all the people in our cinema
I thought I was too far away from them, not in my profession, in my beliefs, in my personality and in my beliefs.
Part 06
When I returned, I felt that I had entered a ruin of which I knew nothing
In these 8 months that I was not in Iran, I thought if everything could change so much, nothing had changed, my view had changed
I was passing by Semnan Street, I said thank God I am here
With everything, with all the humiliation or all that had happened, it no longer mattered to me
I just knew it was as if I had come back to life from a death
And my life was in this country and it was in my profession, I could not breathe anywhere else and I was not happy.
Because I was given very basic offers when I was in Paris, but I thought I was not his person.
I’m a person here, with the same people, the ones who come and play the role once or for all or play the blue scarf, I felt happy
No, I wanted to be more famous or more popular than this, but in Iran they had set a zero point for my return.
When Mr. Tabrizi offered me, I willingly went to sign a contract, but they told me that they would not allow you to work.
I said still, when I came back, they said no, they said at all that they are forbidden to work
Well, Mr. Tabrizi, they started, for a whole month, the entire Ministry of Guidance, which was no longer about Mr. Anvar or Mr. Beheshti in Farabi.
There were people who did not know me and did not want to know me
– Who was the deputy?
I do not know, but I think it was not Mr. Mirsalim’s time?
– Yes, you mean Mr. Zarghami?
They were Mr. Zarghami, yes
– Were they Mr. Zarghami?
Yes, they were Mr. Zarghami
Incidentally, Mr. Zarghami knew me, they also liked my work, but they did not like the fact that I am a bit of a claimant in my profession.
Either I do not obey or I do not surrender or I do not do what they ask of me
I was myself and I will always be myself and I will never obey my work and my personality
Because I know everything I want and need to do, I never take orders from anyone.
I do not give orders to anyone, this also means reciprocity
Then I said Mr. Tabrizi Ershad does not allow, let’s leave the cinema house because I always worked in the cinema house and spent most of my life there.
And I worked for them a lot and I accept them at all, Mr. Tabrizi came and said that the cinema house is worse than everywhere.
They do not allow it at all, they say it is not in our interest for you to work
Mr. Tabrizi said that it is not good, I said do not bother yourself, it can not work well anymore
They went and talked to another actor that the little kids at work could not communicate with and said no, we want to work with the same woman who came.
Mr. Tabrizi said that I do not kill myself to work with anyone else, let’s work
I said that Mr. Tabrizi is worse than not working, but it is not bad for you, he said no, I stand by everything
They went and got a letter from Irshad, at that time it was Mr. Kashesaz, who is forbidden to work and not allowed.
They brought the sealed letter and gave it to me that I still have the letter, and we started working, filming
Without permission, without permission and without anything
It did not take a week for the elections to take place and Mr. Khatami came and everything changed
There is a scene in the film in the mother’s seal as the camera approaches the character from a distance
And it says why are you doing bad things, why are you doing wrong in society, I myself am a victim of this society.
I sat down all those words myself and rewrote the dialogues on Mr. Tabrizi’s dialogues.
And everything that happened to me in these 8 months, I transferred everything in this and every time I see myself, I say how good it is to register a historical document for me
All the pressures that came to me were recorded in these dialogues, I am very happy that I will never forget this
And it’s a very impressive scene for me, that is, every time I see it, I hate myself.
And I saw others say Wow, what are you talking about, but my career was real
After his mother’s love and the arrival of Mr. Khatami, it seems that a lost honor has returned.
And even those who interrogated us on TV, what did they do in guidance, where did we go?
Everyone came to forgive me, ma’am, it was our duty to do these things, I forgave them for the tasks they had to do.
It was not my right, but I did not care who gave him this right
I just knew that it was not my right to be treated like this, and I think in the history of our cinema, they did not treat anyone worse than they treated me.
Well, I went through everything and started working again
I came slowly and the films I wanted to work on after that seemed to have none of the value of the works I had done before.
Because once upon a time, I chose the best of 20 works
Now, out of 20, the worst work could have happened to me.
But I had no choice, my passion and sensitivity, and that I wanted to prove again that it is true that I am banned, it is true that my name has not been mentioned yet and my photo has not been published yet.
They still won’t let me be on TV, but I am and I have to work
And I started working again, I tried to do good things, but I knew that none of them would be so good.
And they will not compete so much with the exceptional works of the 60s and 70s
Everything I did there was a consideration in it, a mental consideration, as if I was leaving my whole being there for the cinema.
I also had some reservations for myself here, that is, I did not just count my work, I also counted myself as working.
Maybe these events made me consider myself a character independent of my work
Before that, I had no separation from my profession, I thought my profession and I are one and the same.
After these events, I realized that I am myself and it is my profession
Because, apart from my job, I had to live outside of Iran for 8 months without a job
And I had to be alive and I was alive, I thought it might happen to me again, it happened
Because I thought about it, it happened to me again, that is, until 1988, I started working and very successful, very good
In 1988, I was banned from working again, again with a very unexpected event, with something I did not really know why.
Now let’s let go of the fact that time has passed and I had become a more experienced person in this field
But what it was, the things I wanted to do and I wanted to do, it was things I was in the mood for.
I mean, I was a little disappointed with that girl full of energy, like a bomb exploded in everything.
I thought for a moment that I have to remember one thing, I can no longer trust anyone and everything and I think everything they say is what it is
A little bit of my complaints increased in my life and a bitterness inside me, it damaged my childhood a bit.
To keep this child alive, I started making comedy films
And comedies that were good for me, like this half-satirical and serious joke
And Mr. The Artist’s The Wicked Man, which also became a very, very different film in its own right
Everything was very different from the shape and image of our modern cinema
Hozeh was its producer and Haj Agha Zam was its producer and they gave a white card to Mr. Honarmand to work easily, do not pay any attention at all
There was no notice even in our cover, for the first time we tied our scarves back
And a lot of positive things happened, both in appearance and in depth
For me, it was not like my previous films, but it was a different film that I liked, which is a comedy, we enjoyed watching and working on it ourselves.
After a good return, we were a few people who left. Well, for example, Mr. Tahmasb also left Iran
And after the election, we all came back and started working with a different energy
After the movie, there was one, there was not one, we saw that we can still be very comfortable with Let’s work together
We went and worked on the confectionery girl movie together
The open-air confectioner girl, based on the same experiences we had in improvisation together in the show unit, started working
Mr. Jebli, Tahmasb and I, and our desire to work because we had involved others in it, was added to us.
Because we saw that others are also surprised when they see that neither Tahmasb speaks to me nor says anything to Jebli.
Only sometimes he comes and says why did you do this and he leaves, we know why you did this, he means where you did wrong.
We had no other explanation, the others were eager for us anyway
And we did an incredibly delicate comedy in The Sweet Girl
The same thing happened with smoked glasses with Mr. Tahmasb for us, a work without explanation but extremely effective
There, too, was an extraordinary connection between men and women, expressing the differences between men and women in our society today.
That an intellectual spectrum did not know what to do now because it was forbidden to play the instrument at the time.
Women’s activity in the arts was a bit limited, now everything was opening up
And in society women were multiplied, they did not know they were intellectuals, they did not know they were housewives, they did not know what to do
And this was hidden in smoked glasses in the character of the woman we were working with, one day she wanted to paint, one day she was going to paint.
One day he was going to cook, it was a chore of housekeeping and we thought it’s all there, in the end this family bond is worth more than anything.
It was also a very, very successful film of its time. Still, when it airs, people like it. We worked with Mr. Latifi as a director.
Because Red Hat One was very successful, we came to the same set again and played Red Hat Two.
In addition to the fact that this time I told Tahmaseb that apart from this role of Narges, I have to speak in the role of the puppet character that you are entering, otherwise I will not play.
He said why, I said oh, that role has nothing to do with me, at least I did something in this movie
When I came and spoke in the place of the girl who had entered, I liked her very much.
Then Aliqoli composed a song for him, we practiced a lot together, we sang in that movie
In fact, Red Riding Hood was no longer creative for me as the mother of Red Riding Hood or the host’s wife, because everything was pre-determined.
This doll made me like to play in Red Hat 2
I also played in Red Hat 2 and we have not worked together yet
Because after that I was not allowed to work again for TV and Mr. Tahmasb and Jebli were doing TV work and the distance was getting shorter.
The distance between us did not close, the distance between our work fell because we are still in touch as always
Part 07
Gilaneh suggested the film to me, Ms. Bani-Etemad, I remember I was driving on the highway when they called to talk to me.
They said, “Simin, I want to offer you a role that is neither your age, nor your language, and has nothing to do with you at all.”
But I want to tell you to play this, I said okay, you can send me the script, he said the film is short
I said okay, I’m playing, he sent me the Gilane script and I saw what was interesting
For example, playing the role of a woman in her seventies in her 40s was very tempting.
I said that I am very much affected by the war, because of my brother and other very detailed stories.
And Ms. Bani-Etemad, this is the religion I have to practice, I could not take up arms, but this is one of the things I definitely do.
We came and Mr. Mirkiani also came and did 7-8 tests on my face and did different things and turned me into an old woman who was nothing like me.
All I said was that because the young man’s eyes have electricity, there are some old people who still have their eyes still shining because of that childhood passion.
But this woman is very annoyed, I said it is not bad to use lenses, Mirkiani said I want to do the same.
In short, they worked on my face for about an hour and a half
They made jaws for me, made gums and teeth, and we put different colorless lenses in my eyes, and they worked on my face with latex for almost a month.
We went to a unique space in the heights of Deilman, I can not tell you how much we enjoyed that space
And I played the bitterest movie of my life, Gilaneh, the mother of a veteran who became disabled herself.
They said that he was 80%, his son was 50%, he himself was unable to take care of his children.
I can not tell you that in the most difficult plans we took, before that, Ms. Bani-Etemad, from the force of the laughter with which I was joking and with the children.
They said to you, God, let us take this plan and then we will continue again
At that moment, in front of my camera, I am doing my hardest work, and the moment before and after, we are all laughing, we are spinning on the jokes we make together.
In that new film, I was released from that heavy space, but there was no change in my work ethic.
Ms. Bani-Etemad was also brave enough in their work, our team had been working together for 2 years after 20 years.
That we did not create any prohibition for ourselves at work, not in carrying a boy who was previously told not to touch a non-mahram
Not in kissing her head, not even in the dance I do in that movie because neither of them was a bad thing.
There was nothing but love, nothing but humanity, nothing but the propagation of the human soul and a kind of devotion to continue living, so there was nothing wrong with the film.
When the movie was over, I wondered how I did it
We went to Deilman for a month, I was a little familiar with the language and accent of this woman after primrose, I changed the dialogues again
-Who wrote his story?
Habib Ahmadzadeh, and this became my acquaintance with Habib Ahmadzadeh and that collection of sacred defense, for which I am still grateful.
While we were working on Gilaneh, I analyzed the identities of women who might be like this.
And mothers who had one thing in common, mothers who have veteran children
When the film was done, it was shown in the form of 3 short films
Well, everyone said, well, it’s a very good film, a gentleman who had a festival in Italy, said why don’t you make a film about it, Gilaneh, there is room for a film to be made.
I told Rakhshan and he said, “Oh, this is Simin’s story, we can not go any further.”
The plot was for Mr. Ahmadzadeh, but Mr. Farid Mostafavi and Rakhshan and Habib himself worked on it.
Ms. Bani-Etemad went to the United States after the film was finished and the festival was shown
I called Farid Mostafavi every day and said that we could not raise this.
He said no, I made a lot of plans, none of them liked Rakhshan to work
I said that if I, Farid, find a plan and say, “You have nothing to do with me at all, tell yourself to Rakhshan that this Work, he said okay
Hey, we talked about this every day until one day I told him this was his son’s story, let’s make his daughter’s story
I just said a word and Gilaneh became a feature film, I had no involvement in anything, Farid Mostafavi himself knew and Rakhshan
But Rakhshan called me and said Simin, we decided to make this film, this way and this way, let’s come and work again.
And the second time I can say that we enjoyed 100 times more than the first time that we are doing this
The whole group was unique, Ms. Jila Mehrjoui Khodabiamerz, who was an extraordinary axis for this work.
I got that dance from Ms. Mehrjoui because I thought, what can she do to make her children happy?
He doesn’t just sacrifice his charity, he just doesn’t play songs, he has to do something, he has to dance
Ms. Mehrjoui said that in the reviews I went to, I went to a wedding somewhere and they dance and dance like this.
I also figured out what it’s like, what it’s like, and I took these 2 bouquets in my hand and started doing this movement that I can not say is dancing.
I can not say what
I remember that Mr. Kowsari was behind the scenes, he could not stand it, he came and hugged me and said what are you doing, what are you doing?
That one does not feel happy from that dance, just gets sad and cries
Gilan and Gilaneh became one of the most successful films I have ever made
As usual at the Fajr Film Festival, they never saw my best films and said that it worked well at all, what else, what can we say?
While it was a very strange thing for me, not for me, I was shown this movie almost everywhere in the world that I was with.
They asked me which role did you play in the film, when I told them that I was Gilani, they could not believe it, at first they laughed that I was joking
Because well, I was both much younger and much more energetic when they saw the role of a woman of that age and with this physique.
They thought I was joking with them, they thought I was joking with them.
I remember once in New York, Gilane was shown at the Tribeca Festival
An old man in his eighties was in the hall with his wife, they asked me which role did you play?
I said the role of Gilaneh and started talking, it ended with a look of doubt and we came out
I saw this gentleman standing at the door with his wife, he told me that I can ask you if you really played this role
I said yes, I really played, he cried, he said I was in the war and I was a soldier for many years
Then when I saw this movie, I thought how close everything is to me, I understood all the suffering that that child or you were suffering.
And he hugged and kissed me like this and we did the same thing
I mean, it was so much that when you see it, it was a very strong role and I was happy to be able to play it well.
It might have been better, but I knew I was so influential
When a man, an old American man who was at war during the war, received that feeling
It was funny to me that no one in Iran had seen this except the holy defense
The children of the Holy Defense had come and given a special award to the actor for his role as Gilaneh
And only once did they give this award to an actor, they gave it to me for Gilane, which is the most valuable role I have ever played and the most valuable award I have ever received.
And after Gilaneh, the scenarios that started with the role of different old women, old women who go to Mecca, old women who are the mothers of martyrs, old women who have veteran children, started.
And it was surprising to me that all this plays a role in writing about characters who are affected by war or the orbits of veterans and martyrs.
And I did not accept any of it to play, I said I did it once to say
Now, apart from the religion I have for this group of people in my country, I must say that acting does not want beauty
Acting wants something that anyone of any age can pass on to others, and that is the love that It can work
I played this role to say that I just do not know how to play my own age and position
But from now on, I will not play any role that is not my age
Then I was offered mother maps, old mothers, even Mr. Abolhassan Davoodi told me for his unique scenario that
Come and play the role of Mr. Radan’s mother again in this film that we want to make
I said that I only play my role, my age
Then they said you want to make the best use of middle age, saying 100% I want to do this but I no longer play the role of older
One day Mr. Clary called me and said that there was a young man who was Mr. Haghighi’s son
They came to Iran and want to make a film, it is a very different film, he said I want you to play but 99% sure you say no
I said, “Well, send the script so that I can read it.” I read the script and saw that it was a very new work.
First of all, no one was working on the video yet, everyone was still working on 35, I said oh digital, this is the best opportunity for me to go and practice and see what the new cameras are coming now.
Although I did not like the video work, we also did the video work on TV.
I think the level was very different from work 35
They called me and I said why did you think I was not working, he said oh you are a professional actor, you worked with 35 and I want to make an experimental video
I said, by the way, I like experimental works, I come 100%, he could not believe the truth and he said
You can make an appointment today, I said I’m coming to your office right now
I went to filming, I went and it didn’t take us minutes to reach an agreement
Because I saw that the subject of the film is different and then they want to work digitally, well, Mr. Clary himself was there, which was a weight for me.
Because we had worked together a lot and we were friends from the city of mice
I was very happy and started working, I liked it very much, a completely different role with the digital camera and I was looking to see what this camera came up with.
Oh how easy it is, how can it work so easily, they took it from here and it was over, oh how soon and in a few days the movie was over
And I was very happy that I had a new experience, from then on it went in my mind that it would be good for digital to come and work.
Before that, I had seen a series of von Trier who had worked with video, Madha had worked with video, and the lighting in it was unparalleled.
I showed these to Mr. Clary and said, “Mr. Clary, this is my view of digital work and video cameras.”
I say look at how attractive it works and the secret army was broadcast on TV
Because light is very important to me in my work, I thought it could be done differently, I went with this idea and worked in Abadan
I worked in Abadan, it was very comfortable and good, but they said at all, what are these ridiculous games? You worked in the cinema.
They still do not allow it and they never showed it, they said what is this ridiculous thing?
You went with a video camera and made a movie and you want to screen it, in short, they put it aside and it is not licensed yet.
But it was a very good experience for me, and we got along very well with the real thing
There was a good energy in him that was appealing to me, energetic and full of creativity
– Mr. Haghighi, son of Ms. Golestan?
Yes, real money
Then it passed and then I played the movie Intersection with Mr. Davoodi
– A little kiss you played?
I played a little kiss for Mr. Farmanara, which was really a very small role
But Mr. Farmanehara is also one to be told no
They are so respectable to me and I played a little kiss for what they did and the value they place on their work.
The role was short and small, but I liked it myself and tried to play well
Working workers I also worked with the good relationship that had developed between me and Mani Haghighi in the film Abadan
He came and said that I want to do such a thing, one To get students, to get people who were classmates and classmates
For example, they were painters or architects, there are 4-5 boys and 1 girl, who were always together, in different relationships with each other.
I also read the script and I liked it very much, then she said she wants to use my husband, I said I will not interfere in this at all
He came and said, “I really thought of you for a role, I can do everything, and I can cast actors who, except for Reza Kianian and Atila Pesyani, are not professional actors.”
Omid Rouhani, Mahmoud Clari, Ahmad Hamed, my husband, Reza Kianian, Atila Pesyani and I came to play
In the middle of my work I told her that since there is only one woman in this, I will play, otherwise if you want other women to be on the card
You must cultivate this character, you must correct him, and if he is in a relationship, he must have an identity.
These are true, but if another woman comes, then it should be considered in another collection.
He said no, I just asked what we should do if we wanted to bring another woman, and he said no, we do not even think about it.
We were in the middle of filming when I saw that it was very good because, for example, I had a relationship with Mr. Pesyani in the fine arts.
The kids I knew from that period, we could use a lot of their characters
In the middle of the film, I saw that Mr. Haghighi was whispering that maybe another actor would come now.
I said, “Where is the film?” They said, “Now I am writing something.”
He came and told me that I had added another character, I saw another actress come
I said what happened, he said I moved this role a bit and fixed it, let him drive and you sit next to him, I also wrote these dialogues
I did not say anything so that the actress would not think that I did not do anything godly about her.
We worked together and they got that plan and it was over, the evening we came to go I said Mr. Haghighi I am working with you
I said in a plan I will let you take me out of your movie, otherwise your movie will remain unfinished like this, goodbye
I did not go to work anymore, because he cheated on me, we did not get paid for that film and we did not have a contract
We just told Mr. Takhtakshian that we all work for free so that his work can really work.
If, for example, it had foreign sales, give us 5-6 percent of this percentage, 10 percent per person
That never happened, you know, this is always useless paper
Haghighi said no, I can not believe it, I did not do anything, for example, I brought Ms. Afshar in this film now, nothing happened
I did not wake up and for 2 weeks, Mr. Clary called me every day, he himself was not allowed to come in our blood anymore.
I made a mistake, now let’s do something, I said I can only get one plan
They accepted that it was okay and left the same plan, which is a plan that I say “goodbye” in the film, I even say goodbye without words
This was really serious because he wanted to play the role elsewhere, continue or do something
I cut it from there, and by the way, his film is very funny and beautiful
As much as I am, it is enough for the film
Later, of course, we reconciled and became friends, but there is always this thing, the trick I did, I always tell him
Under the Peach Tree is also one of the films, I can not say the success of previous films that we worked together in that series
But it was a pleasant and lovable film, we started again with the same team, the same people and with the same very impromptu spirit.
– Who else was in our movie?
No, Tahmasb had worked, yes, Tahmasb and Jebli, one or two were added, for example, Ms. Shohreh Lorestani was added and 3-4 other characters were added.
It was a great pleasure to work together
One hundred years to these years was a very special film for me because it showed a character for the first time in 3 decades.
Before the revolution, after the revolution, the time of war
I do not know why the film became an unbreakable knot between Irshad and this film.
in location It was bad, they did not defend it well or I do not know what, but they dealt with the film very hard
More than 4-5 times we changed the sound of this movie because of the name of Iran, because the name of the main character of Iran is a woman.
In fact, the name of the film was Iran Khanoom, they did not give it permission and changed its name to a hundred years to these years
Then they said change the name of the character and leave it to Turan, we dubbed a round and said Turan, they said it does not eat, put something else again
Finally the producer said I have nothing to do with it, it stays the same
– Who is the producer?
Mr. Worthy
The film was shown at the festival a few years later, but only in a few limited screenings
They were not allowed to show it open to the public, even though it had a screening license
It was a special job for me, especially from a young age to middle age
From a very prosperous gigolous woman, everything is very good, to a woman who works by herself and turns her life around, and the child who is martyred.
They said that the mother of a martyr does not have these characteristics, if the mother of a martyr is the mother of a martyr, whoever loses her child in the war is the mother of a martyr.
Because of his ideas or beliefs that we can not separate, now they may be a little more comfortable and show the film
I also worked with Mr. Shayeghi again on Hibernation, which is a dowry for Rabab and the movie Star and Diamond.
We had a long-distance relationship at work, but we did not work again
This was one of those very harmless and quiet works and it was very good and respectable.
He was starting to support only the movies he was selling, only the movies he was selling.
The softness of intellectual thoughts was coming out of the cinema
Mr. Shayeghi made this film an honorable film in a stillness that his character also has
According to my husband, he used to say that Shayghi is honorable in everything he does, you can say it is not a good movie.
But you can not say that the film is vulgar, there is an honor in his work that is hidden in his beliefs in cinema.
Part 08
Niloufar is a work that a woman came from the United States but lived in Iran and was born and their parents had a cartoon factory here.
They were very familiar with Iranian culture, they liked it very much, but they are in Hollywood, Ms. Sabin Jamail
He had come to make a film here, a film about the marriage of small children who are married in Arab tribes and clans.
This is a good movie, a movie that may not be very interesting, they marry a little girl and there is no way they can save her.
In that film, which took place in a very southern and very Arab atmosphere, I was offered a role in that film
Who is a Persian-speaking teacher who teaches children, is in fact a symbol of the ancient land of Iran
She is very beautiful, even her costume designs, she reads Hafez’s poetry for children, she teaches children
She is a good teacher and at the same time helps in childbirth, that is, giving birth to a child
She is a midwife, but in a very, very mythical and beautiful form
The film was not a bad film, it went to many parts of the world, it won a few awards, but it is still not allowed to be shown in Iran, just because of its subject matter.
Shirin was part of a series of short films that Mr. Kiarostami was making
One day I was told that I wanted to use a number of actors, I have such a subject
We talked in the gallery, I said ok, I will definitely come, one day I went and they said, well, what can I leave for you to listen to and how do you feel?
I said you tell me what you want from me, he said nothing, just as if you are watching a movie and you are impressed by it
I was also impressed for 10 minutes, then we came and edited, made a short film
When it was first shown in Cannes, it was a very interesting subject for everyone
Two years later, Mr. Kiarostami called me and said that you could go and complain about me.
I said why, I said because I told you it’s a short film, sweet, I said yes I saw it, I liked it too
There are 5-6 actors and their reactions to a movie, he said no, I uploaded that movie.
I said, well, Mr. Kiarostami, I’m complaining about you, but because I love both you and your films.
This complaint is ridiculous, I’m complaining to you, we joked together a bit about this and then I saw the feature film
Well, this movie was very, very popular in Cannes, but for me, the short film they made was much better and perhaps more valuable than the feature film they made.
Complaints and these words that were a joke between us, but I complained to myself why you made this short film so beautifully.
– Next Mizak movie?
Mizak made this film by Mr. Lialestani, who is also a strange creature
The movie script was also a phenomenon, the whole movie is from the point of view of a fetus that does not want to be born.
The subject is very attractive, the fetus sees evil everywhere, sees lies, sees depravity, sees inappropriate behavior.
And he says why should I be born in such a world, he does not come, he is not born, whatever they do, wherever they take this child is not born
The mother is dying but the baby is not born again, she is a very attractive subject, she was very attractive
We worked in an area where Mr. Layalestani’s own area is, the sides of Layalistan
And it was so beautiful, the atmosphere is exceptional, the whole film, every sequence is a plan
And we practiced very early in the morning, 4 in the morning, until the light was right
We would take a plan and come, one day a plan, each plan being a sequence
And it was very interesting, but maybe they could not hide their idea in the film
Or whatever the problem, the film was not very successful, as if it was given a 1-week release and it was over and gone.
– Prinaz movie
Perinaz has also been licensed after 7-8 years, recently
– Who was the director?
Her employer was Bahram Bahramian, who I think is also a religious and obsessive woman because of her subject.
And in fact there is a woman who is not married, a woman in her forties who is not married and she has a terrible obsession, she washes everything away
From point of view of the niece he is an adulterer, they sent him home to take care of him
And the whole contradiction of this woman’s view is of this child who had a father, a mother and now both of them are dead.
But because he did not accept his sister, he could not accept this child
He gets to a place where he has to leave the child on the road and at the door, and then when he returns to his house
It seems that his attachment to this child is so great that he can not bear the emptiness and goes back to the child to bring him back.
The film has been banned until today because of its subject matter
This is one of the best things I have done in recent years without me
Also because of the subject of the film, which was an adaptation of the Tennessee Williams glass zoo.
And Mr. Tavakoli had done this to us so well and he had done it to Iran so well
– What was Mr. Tavakoli’s first name?
– Bahram Tavakoli
Mr. Tavakoli is also one of the exceptional youth of our cinema now.
And you can make a movie that you like, I think maybe a young ellipse, maybe a young pious person.
The young man I say is now forty years old, but he is very good at his job, he has very strong knowledge, he knows cinema very well.
I just do not know why he does not do what he’s supposed to do
The film here without me is probably closer to itself than any of its other films because so much of it is its own size.
A very special film, I won an award for it in many parts of the world
– Festivals?
Yes, I got the Montreal Award for this film
Storytelling To be honest, Ms. Bani-Etemad called me once and said that I want to do something that you can say no to.
I want to collect the characters of all my films, give them a connecting line to date
I was in Italy then, I was gone, I do not know what I was doing there, I said I am not in Iran now
But send Rakhshan Joon in the script for me to read
He said I can send that piece of you right now and then I will send it all to you.
I read, it was a little different from what was made, I said I do not know, I do not want to say no at all, because in any case it is the role I played
I would like it to continue, said Mr. Entezami, and they doubt whether they will come or not
I also told them that they are free, they called Mr. Entezami and said no, I will not come to do this
They gave it to me, he said well I can change the role, it was a very short line
They said there are many things I can do with this, now it depends on whether you and Mr. Entezami come or not.
I talked to Mr. Entezami and he said no, Simin, I will not do this, I was left to decide what to do, Mr. Entezami will not come either.
I told Rakhshan I will come but I do not think I will have much time, he said ok, I will put this role in you as much time
I could not believe that the scene they wrote for us was so effective in the whole film
They wrote and sent me the whole story, I did not like it very much, I thought there was a bit of rhetoric in it
And these factory workers, and then if I wanted to play in a movie like that, there are other characters as well.
Well, I thought one of the best characters was the same woman in the blue scarf
Nobar is Kurdish, he could be a good link for the film, but well, the whole story was something else.
We came and I think we filmed for 1 or 2 days and I can not say that it is my favorite movie for Rakhshan
But there is something brilliant about it that is unmistakable
Maybe I wish, like all other brilliant works, a bit of a protest form, a more hidden form.
And there was a bit of softness in it, but it was a very successful film
Bahman was made by a very young boy, the youngest director I worked with was 26 years old, Mr. Morteza Farshbaf
He had a scenario that he was almost 40 years older than himself, but he knew exactly what he wanted.
Mr. Kiarostami had also encouraged him a lot to make this film. They were among Mr. Kiarostami’s students.
In this movie again, I’m with acting with my husband, that is, we are exactly a couple
When Morteza brought this scenario to me, he said that there are so many similarities between you and Mr. Hamed and the characters that I wrote in the film.
That I can not leave anyone else at all, they themselves entered the negotiations and Ahmed said no, I do not work, I do not like acting at all
Finally, one day, I threatened that Baba, it is very good for me that you come, I will not have any problems if I touch you.
This is how I managed to get him to film
We had very difficult conditions because it was all in the snow and in the cold, sometimes we worked in 30 degree cold.
That my hands did not move at all anymore in my gloves, but because the boy is very talented and his view of cinema is extraordinary
We worked together, but they assembled it together because he and a very close friend did it together
It made the values in his film weaker and weaker
In my opinion, the biggest damage to his film was the montage, if it could have been a very exceptional film.
– Did Yahya’s film not remain silent?
Yahya did not keep silent with a different movie in which I played
For the first time, the role of an unkind woman is typical of a family, I played a terrible aunt.
The main focus of the film is the story of a boy
This was a successful film, and I think I won an award for this film in one or two places
– The film of the Republic of Azerbaijan called Nabat?
Yes, that movie is also a movie about war, a woman who evacuates the whole village in one village because of the war.
This is because his son was martyred and buried here, he will not leave here
Her husband also dies and she stays and the cow, the cow also dies, she stays and a female wolf
That is, two women are left alone in a village, both of whom stayed there because of their children.
The wolf, too, because the animals run away when they are attacked somewhere or realize it is a war, this wolf is left and this woman
They both stay, and an emotional bond develops between the two mothers, the mother who is a wolf and the mother whose child was martyred here.
It’s very, very beautiful, they got it from a real story, that a woman herself goes to the lights of the whole village every night and turns them on.
And the enemy thinks that he could not occupy this place and that city is liberated
– What is the story of Bangladesh and Dhaka?
I got an award there
– Silent movies?
In Silence is a film that has not been released, the reasons why it has not been released I do not know is because of the director, I do not know the producer who does not try to release this film
Or that it has an audit, but it is a film that has been going on for 2 years but has not been released yet
It is the work of Mr. George Hashemzadeh, who is one of the very old assistants and the first assistants of cinema after the revolution, and this was his first film to be made.
– Abajan?
Aba Jan is the last film I made and we worked in Zanjan and it happened in the 60’s
She is a mother who is both a grandmother and a mother who has several families under her control and takes care of them.
Part 09
– There are also TV series, Gol Pamchal and the interrogator enter
The interrogator enters. It was a tele-theater that Mr. Babak had worked on
Gol Pamchal was directed by Mr. Talebi, who was one of the most successful TV series of his time.
Where I played the role of a northern rural woman
When we went to dub the series, some people were surprised, they said we thought she was a village woman, we did not think you played
It was a very lovable role for me, it was also a very good series
– Beautiful hairdresser was also successful
The beautiful hairdresser was also very successful, of course I had a short role in the collection
But it was a very decisive role that we worked with Reza Babak, Ms. Boroumand was also its director.
Under the Blade was a very, very successful series directed by Mr. Honarmand
Which I think was the best series ever made and the best known series
The only problem was that a lot of it happened in those sad and painful events
It was very heavy for people, one of the things I always heard people talk about was that it was very sad.
We came to work as a cook to neutralize a little under the razor, the sadness that was in that movie
A movie full of humor that could look like a bitch or smoky glasses that is a difference between a family and a man and a woman with all their issues
Because it was in 1988, in my opinion, it was not very successful compared to other series
It was again a series that because there was nothing around, people saw and liked it and still talk about it in many places.
But there was no series for our collection that I think I can say is like under a razor or like a beautiful hairdresser.
Which of the theater, cinema and television games do you like the most?
Between cinema and television and theater I can not say which one I choose to work
Because all three of them have so many different uses for me, for example, I definitely work on the TV every 10 years.
Because I feel I have an audience that I can not have at all with the cinema or in the theater
Those villagers who sit in the heart of the rock in Kurdistan and have a small TV, they are my main audience, I would like to communicate with them
TV is the most useful thing for me there, in cinema the audience is a bit more excited
And it’s something I actually grew up and settled in, it’s like my main house that I kept and I work and I enjoy
Theater is beyond these two, in my mind theater is like the vital veins of my professional life
That I can never cut these veins, not only not to cut but also to keep the blood in it healthy and flowing.
All three of them have different positions for me
Many of my awards have not been registered, one because I went to a number of countries that gave me awards.
It was a time when everything was forbidden to me here and I was a little annoyed
That’s why in that period of a few years, for 4-5 years, I did not announce the awards that I received in different places, now you can find them on their sites.
I think I have more than sixty awards, I have the most foreign awards in actors
Mr. Atbaei has accurate statistics, I think my foreign awards are now more than 10-12
I never thought I had the right to receive an award, I was surprised if they gave it to me and I thought, oh, how interesting, they gave me an award
I never worked to think he would win this award
For example, from the first day we read the script, the director of Abajan used to tell me, “Ms. Motamed, I’m sure you will get this award.”
I told Mr. Alimardani not to say this because later if they do not give an award, you will be upset, I do not care.
He repeated this so many times, the decade of Fajr came and he said it is a place not to be rewarded at all
The next day, when they announced, I called and told Mr. Alimardani that I was sure I would not receive an award.
But I want to say that you are not in a bad mood, it always happens, you can not think that whatever you do, you will be rewarded
This is really my look and idea, I do not insist, but whenever they give me an award, it makes me happy.
Especially when you are rewarded outside of Iran in a place where you never imagined they would even know you.
I was not from Montreal myself, but when I was awarded in Montreal, I said, “Oh, how interesting.”
I did not doubt their judgment because it was not me, there was no propaganda, no insistence
Maybe this way I will be happier when I receive an award from an unknown place, it will be more pleasant for me
Once upon a time, when I was receiving an award at the Fajr Festival, everyone said, “Dad, that’s enough, he does not want to give this award so much.”
At one time, when I did not receive an award for my best films, they protested that they ate your right.
I say what is the right at all, in this case some of your tastes are judged
Sometimes you suit their tastes and sometimes you are not, neither taking it nor taking it can not criticize a lot of one’s work, one must know for oneself how big it is.
I gave all my awards to the Cinema Museum, I do not remember many to say, but there are some very significant awards for me
The most important was the Henri Langlois Award given to me a few years ago in Vincennes, France.
And it was very valuable to me, usually this award is given to those who have been influential in their careers during their careers.
For example, Mr. Kiarostami was also given this award
It was an award Ilex was in the United States and unfortunately I could not go any time, I was given this award twice
It was again for my collection of activities and my influence
I was awarded an award for all the history of Iranian cinema as the best actress in the history of Iranian cinema, which is also very valuable to me.
– In Iran?
Yes
– A cinema house?
No, I think it was all critics, a collection of cinematic polls
These were very important awards for me, but the most important award I received in my life was an award that did not exist at all, and they gave me this award.
An award in the sacred defense cinema for the film Gilaneh
Because Gilaneh did not receive any award in Iran other than that award
He received very important awards all over the world, and very much even his president came to Pakistan and gave me my award, Mr. Nawaz Sharif.
That is, they had given so much importance to this Gilaneh film, but in Iran, the only place where it was awarded was officially the Holy Defense.
In Holy Defense, there was no acting award at all, just a film, such as Holy Defense, which one was awarded the best prize.
That year, they gave me an exceptional award for acting, which was an award for Gilaneh
It was so enjoyable for me that there is no limit, I thought that there is nothing wrong with it.
But in our cinema, he was not even a candidate for anything
I really do not expect anything, never and for no prize, I am always surprised if they give me a prize
I never expect anything for anything and I never won an award for my best films in Iran.
But this award was important to me because I thought how good it was that this relationship happened between me and the group that always worked hard to defend my country.
An event that separated us from each other and Gilane made us respect each other
Both they to me and I to them, to see how much I value what they did, it was the most enjoyable of all
Part 10
– How do you choose your subjects in order to act in a movie, that is, what characteristics should it have that you accept?
Honestly, first of all, I have to read the script and see what the whole scenario says and what it does.
When I read the script and liked it, then I look to see what role I was offered, then I accept to work or not
I can not only play movies that are meaningless. Movies that are vulgar
In my opinion, vulgarity is either insulting someone or looking at things superficially or saying obscene things.
These are my personal work bans, otherwise I would send any film, screenplay they send me.
I think it has the right framework and it raises an interesting issue
Even if I say it’s a mental issue, it’s interesting to work with
Incidentally, I tend to do unusual and creative things, but our scriptwriting skills are not like that.
I mean, it’s as if we’re not even a step ahead, all of a sudden my expectation from the cinema is something very, very high.
After a few years of being allowed to work again, I look up and see a very terrible fall in it.
When you are given a role and a script to play, what process do you go through after you accept it, when you start reading the script and seeing your role, as long as you play?
From the beginning, I sometimes make spelling mistakes in scenarios sometimes
Now, especially since everyone is typing and using a computer, they sometimes misspell some words.
The first thing I do is to be friends with the script, when I read if there is a character who is far from the current situation.
Or if he is a little older than the space I am in, I look around and find out where he is.
And then I identify with him and then I release him until the day I am supposed to be in front of the camera.
Before that, when we put on make-up, we get dressed, all of this helps me find that character.
When filming starts, I have nothing to do with it at all, it’s in my mind
And wherever I go in front of the camera, I take it out, use it and put it back in its place and continue my life.
In improvisation you do not bring anything for yourself, everything is in its place and you use it whenever you want
And I saw enough different people for my community, of course
When I see a different person, then I go and research about him, and that adds to the thousands of personalities I have in mind for work.
I value myself a lot, as a human being
And I have very high expectations of myself, which means I think my abilities as a human being are very high.
I am not a man of war and strife, I am very peaceful and very happy and very energetic
This collection makes me look at human beings with these aspects
I mean, I might even play a character who looks negative
But in that negative person, I pull out the human face because he is also the one who kills in a mafia gang.
The night he goes home, hugs, kisses and caresses his baby, those human qualities are present in everyone
In different situations when they change, I do not like to look at the inhuman aspects of people
In the worst people and in the worst people, I look at that human vein that hides love, affection and the continuation of life.
I may not even be here, but when I went for interrogation, I told my interrogator that the night you go home, you turn on the TV and it shows my series.
You are wearing pajamas and your baby is in your arms and your wife is in your arms, meaning I entered your house
Am I a member of your family? He would say yes, I would say then you are a member of my family
So we do not have any differences, we have to see where our work is wrong that now you are sitting there and I am here
And I was so upset that when I wanted to go out the door, I was told I’m so glad to meet you
And for me to start defining from now on I am a university professor, where do I study and what is my situation?
What is the situation of the society and they forgot about my problems at all and the last 7 were signed by me
They did what they had to do, and I was at the foot of everything I said, explaining everything in the right way.
But I want to say that one can reach an agreement even with one’s own interrogator
Because he also has children, he has a wife, he also has a life and he could be in my place and I in his place
Social conditions, the situation of our society and the space that existed did not make him there and I did not make him here
I was now bringing the two of us closer together
The more I look at the things I do, the more I seek to come to terms with all the inconveniences.
Ever had a hard time finding that role and think you could not do it at all?
Yeah Al that sounds pretty crap to me, Looks like Al that sounds pretty crap to me, Looks like Al that sounds crap to me, Looks like Al that sounds crap to me.
And with a panic and anxiety I went in front of the camera and when it was done, I saw that scene happened to be a special scene in the movie.
It often happens to me that I feel helpless and say what I did wrong, why I accepted to play this movie
I can not, here I can not say this, here I can not do this behavior
And then when I look, I see that the film is done and finished and gone and a good film is made.
But I always get anxious that I can’t play during filming
In our scripts, they always write a title of the characters, sometimes they leave the depth and the challenge for you to see who is playing.
Now one can get in the same main line and work and one has to go deep
Usually, if there is no such depth of character in the scenario, it is not just about the character I play.
I do this for the whole scenario, I go through all the characters and I get the hang of it.
I use the ones that are related to me, the ones that are related to others, I will definitely give them to the director to use.
Because I always say that when the maps around you are right, you look better
If the whole scenario is wrong, no matter how well I do it, it’s useless.
That’s why I definitely do research, study and explore it in society.
To play I think a very important factor is how much you believe in what you are doing.
If you believe in that character, you can pass that belief on to others
And in any period of history they can look at that belief and accept it, it’s like how much work you are doing right?
When you do the card right, that means doing it right means that you have that culture in it
Have faith in the presence of that character, know the different dimensions of yourself and others, and know what tools you should use to deal with it.
That is, having knowledge of that role helps to stabilize and perpetuate the role
There are a lot of plans that, according to Mr. Pesyani, who says he is very talented, you can play this badly.
I mean, it’s just like that, everything is in it, it’s enough for you to know how to play
That’s why the original writing itself is more important than anything else to help it last
You might say that an actor did not play very well, but an exceptional role that is written once you do not play well, will remain a well-established role.
In cinema what drives you is technique, in theater what drives you is your existence, your abilities
In cinema, everything can help you and everything is at your disposal
You are in control of everything else in the theater, that is, you are the accessory, you are the stage designer
You are the verbal, the audio, you are the spectator camera, everything is summed up in the actor
In cinema, the opposite is true, everything is up to the actor, so as a result, you can play in front of the camera if you know the technique.
You also know technique in theater, you can not play, because you have to add something else to it and that existence in the moment
And that is your feelings, and that is your adaptation to a set of factors in the moment
In the cinema you have time to correct yourself, to use it, in the theater you do not have these
I wrote a detailed article for the University of Maryland when I went there and talked about three generations of Iranian film actresses.
If I want to remind you of its summary, I will tell it to you
These three generations may have no resemblance to each other, but they have a common aspect of self-sacrifice.
The generation before the good revolution was a generation that had a formula to work with
But there were generations who gave up the profession to give it an identity
The generation they fought for is a struggle against petrification, not a struggle for their profession
The struggle is that the woman is not allowed to leave the house at all, then she comes and plays the role of Lor’s daughter and can not work for the rest of her life.
Because he was even stoned at the back of the house, he was sanctioned for coming to play.
Well, if a person has a belief, he says that he had a divine appeal that he could start and play.
Otherwise, an ordinary woman could not have decided to play in that period and accept all this anger and sadness of the society.
It goes from a petrification to an enlightenment and to some extent it appreciates it, from one place to another it becomes a formula for selling only films and tekotok in valuable works.
When the revolution comes, it seems that all that experience and all that complete self-sacrifice comes into the hands of the second generation actor
And the second generation, with an awareness and an education of this profession, begins to give identity to this profession
This identity includes everything, includes first of all being a woman, the north does not exclude her from the realm of art, and includes thinking.
Until a few years after the revolution, they did not even think that the actor had any thoughts
What is the actor for, they just have to tell him to stand in front of the camera, tell these dialogues that someone else has to speak instead
It used to be said that an actor’s identity is based on his dubbing and not on his acting, because acting did not make sense, his identity was made by dubbing.
And then the more important question is how you can transmit this thinking to others,
I mean, as an actor, I have to read the script, I have to have an opinion, and I have to tell you how influential and decisive I will be in your work.
It is like a duty, as if we were obliged to pass all our resources to the post-revolutionary cinema from the previous generation to the new generation.
And we endured his hardships when, as Mr. Beizaii once said, they said that one of our hairs was not allowed to come out for a while.
Then how did we want to prove that we are the wife of one in the film, how did we have to prove how our behavior is controlled that we are the mother of a boy
All of this came to fruition in Iranian cinema and became a different cultural cinema in the world that we were all proud of.
The third generation that entered the cinema thought, “Who are these people? I do not need to study.”
I do not need to follow cultural principles and I do not need to observe vulgarity, I do not want anything
The new generation thought that I could come and be the best with a revolution in cinema
When did this revolution take place, when mass communication became electronic devices, when the Internet came into being
When you know about the red carpet of Hollywood at the same time in Iran, when it is held there
So you do not put yourself in comparison and internal scale, you give yourself a global position
That this global position has no place in Iran, that is, once the images of women in movie posters were gray in the background
Turning this gray shape into a color in front of images of men in Iranian cinema has taken a lot of effort for twenty years, which has become
About the movies that were made, about the roles that were played in them
Now you are a perfect woman, as a perfect actress, both your photo and your name will be taken.
The roles you play are sometimes not only equal to the role of fashions, they are also a little higher.
Take on the role of Mr. Chai, who has become the defining woman and head of a company
Well, we have now reached an evolution in Cinema, This is when we are on a global scale
We want to remove these barriers that exist in the appearance of our cinema
I want to go and wear a dress that matches the dress of Nicole Kidman on the red carpet.
This is not possible because in my country I do not have the relationship between that red carpet and that cover
So I become a fake imitation of a superficial thing
That’s why 99% of actors after the revolution have had their noses operated on, their faces operated on.
Surgery or turning the face into a natural beauty is 100% necessary for an actor because people have no reason to see the worst form of an actor
I decorate myself so that the viewer can see a more beautiful shape than me
But the pattern that causes you to have surgery on your nose, to deform your face, then you have to go and play these vulgar movies.
That the woman again becomes a superficial person indifferent to culture, family, existence, motherhood
If you want to enter Iranian cinema, you have to have an ability
That once you make bad money and you enter and become famous and your photo is put on posters and you are introduced as a superstar
Once, twice, three times you can do this, the fourth time no one will look at you because you do not know how to play
This is happening in our cinema now, I have never seen it myself, but those who did it told me, both those who got paid and those who paid.
That he wanted to be famous, well I did it for him
It was a wrong period with people coming to the cinema and investing
It is in their own interest that when they do cultural work, it is also in their economic and tax interest
It is acceptable for an investment to enter Iranian cinema, they will also receive a semi-balanced response over the years.
But that you pay to become famous and buy a director, a producer
It is a line that is taking place in Iranian cinema, because they do not have a correct idea of it
Making money from Hollywood cinema and investing in Iranian cinema, they mixed these together and it has become a cultural embezzlement in the middle that you owe money and you can work.
– What is your opinion about criticism in the field of cinema?
We do not have a critic now, now that I can say that it is more a matter of taste than a sense of criticism.
During the years in Iranian cinema, critics knew much more than those who wrote critiques about them.
If someone wrote about my acting, he would know cinema better than me and he would know acting well.
Now I saw that they interviewed me somewhere and then about my biography, when they came and wrote, they put four wrong videos in my biography.
I mean, I was not even willing to ask myself if I was willing to give them information, did you play in this movie?
Not only has he not seen that movie, but he does not know that I did not act in it, but he did not go and ask and see what movies he has acted in.
So when you do not have this understanding of what you are doing that you should have information about, you can not write a very good review.
In some places, it is possible that the events of Khop happen a handful, but there they also take money and write.
Here, too, they write on the basis of camaraderie, and here, too, they do not pay attention to who they are writing to, whether it is good or bad.
We do not listen to him, we do not have the capacity to hear criticism
If I tell my colleague friend that I think you played weaker in this movie than other movies, he will not talk to me from tomorrow.
He says why he told me this, but when a person listens, they tell you that you played like that movie here, you were so much worse.
One has to wonder why they say this, the enemy who is not with you, is criticizing you
If there is a spirit that I go with knowledge and correct someone, a lot of good reviews will be written, some will write.
If not, tell me now that I do not like it, tomorrow I want to interview him and let me go again
He starts praising me from head to toe or he says his dad’s grave, I have nothing to do with him and he says bad things from head to toe
There is no critique as a reformer, which I think seems to improve cultural work at all.
Not only in Iran, but in the world, because there are many other places in the world that, like us, come with a strong mandrel and suddenly become a bubble, are forgotten.
That you are always yourself and yourself will be different from the rest of the world
No one in this world is like me, does not talk like me, does not walk like me, does not think like me
So if I show myself, I am different from the rest of the world
The same is true of Iranian cinema, Iranian theater, Iranian music and cultural work
If you see who you are, where you are, then you can change the dimensions of your world.
How do you change when you talk about something you know about?
You are talking about something that is yours, you can analyze it, you can change it.
Knowledge of what we want to do if we have it, then we can change it to the vastness of the world.
If we want to see the evolution of Iranian cinema from the beginning until today, when we are here, let’s talk about it, in 1996.
I must say that it has gone through a very ups and downs, when Iranian cinema started, it started with a fundamental change.
That is, he wanted to change all pre-revolutionary relations and have a proper replacement
But he did not know what he wanted, so the films of our early years had an uncertainty in one, the cover of women, especially
And the presence of women as the three main causes of violence, sex and alcohol were removed from our cinema, which made our cinema proud and grow.
When eliminated, human relations, culture, consciousness, and identity replaced the three elements that were at work
And our cinema, after a few years, in the 60s and 70s, became known in the world as Iranian cinema, like Hollywood cinema.
From something he got something that now had to be kept like a seedling
It was kept, in the 60s and 70s, Iranian cinema watered it like a seedling bit by bit so that no one would damage it.
No disrespect to anyone, no inhuman treatment, no removal of insults, no removal of insults, no removal of anonymity
We became a poetic cinema like Nar and Ney, we became a Bah با’ سین cinema like Basho
To a Bah با’ سین cinema like Naser al-Din Shah, a cinema actor, these belong to the 60s to 70s of Iranian cinema.
From the mid-1970s, that is, from 1976 onwards, there was a major decline in our cinema
And that was when the movie directors who had taken care of us as children and we had reached adolescence left us at the height of our prosperity.
And it emptied under our feet, as if we, this newly grown seedling full of blossoms, were about to bear fruit, so that our fruit would not be ripe.
Much of it was because of the policies that had taken place, and in fact all of our administrative work was changing.
We were taught not to walk, but our feet were not yet strong when they let go of our hands
Then cinema became a taste, now we realized that everyone can walk as much as they can
We no longer have a compassionate manager, we do not have a cultured manager, we do not have a manager who can control and guide us and say that you are better now.
It is better to do the same cultural work now
Managers who had the discovery of the brilliant talents of their time in their hands
I remember Mr. Anvar talking to me the first time Mahaya Petrosyan played
They said you saw the movie of the last scene, I said yes, you saw how this girl is playing, I said it is wonderful
You told me that one of the future talents of Iranian cinema is Ms. Petrosian, I will never forget that
What happens to Ms. Petrosian, the brilliant talent, the extraordinary work, at a time when Iranian cinema is set to become independent?
He finds it so hard that he prefers to work less, be less involved in vulgar movies, and isolate himself and other people like Ms. Petrosian.
We learned to walk as little as we could, not as much as we could
In Iranian cinema, you could tell person by person that, for example, Motamed Aria plays like this, Mr. Poursamimi plays like this
Mr. Taghvaei makes films like this, there was no definite line, and I do not want to say that that definite line should have continued until the end of the world.
It had to change, when it had to change, the change became incomplete because the knowledge of the cinema people was more than the knowledge of their directors.
They had to bring in someone who was the size of Iranian cinema
The people who came had no idea of cinematic relationships, of knowing that this is a strong, cultured and well-off family.
The premature children started to develop this cinema, they rejected us and pushed the imperfect cinema forward to say that we want to produce a new cinema.
The result is what it is now, I have no objection to this vulgar cinema
Because I’m sure there were and will be children from his heart who believe in culture and that they do cultural work and then business.
All this has gone on with all our social fluctuations, our cinema is a direct reflection of our social conditions
It is one of the cinemas in the world that you can not take out of the social situation
You can not say that I do not work in social cinema, everything you do is relevant
As a result of these events today is the result of 10 years of social pressure
I’m sure it will get better from now on, so much so that we will not reach it
I’m protesting against this cinema now, I hope there will be a cinema where I will still be behind whatever I run and I will not be able to get ahead of it.
Which artist, both director and actor, is most interested in your work?
in Iran?
– In Iran and then abroad
In Iran, Mr. Ayari’s work is one of the most logical and authoritative for me.
They have a good style and technique in their work and they are strong and absolute, they are the best technicians I know
Well, there are many other good directors whose work is not discussed at all.
But Mr. Ayari has an existence in his work that existence is too absolute for me to love
Unfortunately, I have to say about our actors that they fluctuated so much that there is never a definite line that you can say promotes this line in their acting.
Suddenly a period stops, then they come and get very good
Or in a very good period, they suddenly find a low level
I can not say we have bad actors because they all really work great if they are well controlled
Our actors are very, very special actors, because we had to work in one area
This range gives them good showmanship, power that you can use your body when you can not use your hair
And if you have restrictions and restrictions for acting, these restrictions will help you to work inside.
And to reflect your feelings and behaviors much more clearly from the inside out
It really seems to me that Iranian actors are an exception in acting if they are properly controlled
Do you see innovation in cinema and sometimes in theater?
I see a lot of innovation in theater, yes, a lot because theater needs research.
When you do research, well, if you want to break a structure, you create innovation
It may or may not work, but you do
I hardly see it in the cinema, sometimes some young kids like Mr. Macri, who is my very favorite filmmaker, in their teens.
He tries hard and moves forward, but to the extent that his possibilities allow, he does so.
Takutuk, you see some creativity, but in the structure of cinema, the same as it is can not be observed at all.
– What in the world today surprises you the most?
as well?
– To anything, good, to bad, to anything
My surprise in the world in a positive way is when I hear that a 19-month-old baby can call the emergency services and save his sick mother.
I wonder where a creature so small got all this
My negative surprise is when you eat I’m a human being head over heels for another human being and think about where the world has gone
How much we have grown from the beginning of humanity to the present, in a very broad contrast
– If a young lady wants to go your way, what advice would you give her?
Vala is not a recommendation to a young person who wants to enter this profession because it has such wide, hard and heavy dimensions.
I can advise him to read well first, see well, listen well, all the arts, then choose to come to this field
Or if you want to come in the field of acting or cinema, first go and see everything that is a painting and photo exhibition.
See whatever movie is on the screen, whatever theater, whatever music and whatever Dorobert book is, come later and continue this profession
Honestly, all these successes, all the pleasure I get from my life, sometimes when I want to move a device, I say I have it from the cinema.
I come to do something, I say it comes from the cinema or from my acting sometimes
Whatever pleasure I get, whatever I get, I am grateful for my profession, I say it is because I have this profession, in return I gave my whole being