Amir Esbati Transcript and Audio

Amir Esbati

Audio of the Entire Interview

Interview Transcript

Part 01

I was born in 1335 on Jaberi Street, Delgosha Street, in that neighborhood, we were born in a very average and traditional family.

At the age of 4, we moved to Narmak, a renovated neighborhood in Tehran

My father was a traditional architect and had a Quranic literacy. He learned literacy from his mother, Malabaji Deh.

This Malabaji who is my baby has a very important role in my life

My mother was illiterate at that time, later Akbar went and learned to read, and the most important person who plays a cultural role in my life is my mother.

Then 2 brothers were born after me, one is 2 years younger than me and one is 5 years old

And a sister who was born 16 years after I was born

The oldest memory I may have is an old traditional Tehran house with a middle pool and a brick floor in the courtyard.

My mother and this baby are sitting and I am with them, maybe this picture is so vivid for me

Because of the memories my mother shared of that time

The fact is that I do not have this memory in my mind, I made it in my mind

And with the help of the photos from that period and the photo of my mother in the same yard, it seems to me that this is my oldest memory.

But surely something like that photo and like those narratives and like what can happen later has influenced the cinema so that I can imagine this memory in my mind as the oldest memory.

Because there was no one in the house who could handle my homework so much, in fact, some kind of traditional religious culture was passed on to me by the baby or influenced me.

That is, as soon as I could read, it helped me get good grades in school much later, and I was usually the first student.

I became interested in reading books, I had a really religious look for several years, because of my close relationship with the baby.

And it all started with my questioning

In this sense, I think that this honorable lady had a great impact on my life

Narmak The story is that we got acquainted with a family.

The nephew of Mehdi Rais Firooz, a well-known director in the 1930s in Iranian cinema

Bijan, the head of Firooz, who is his nephew, was the eldest son of this family

He was interested in cinema, maybe because of his uncle, and he somehow conveyed this interest to me.

Because I remember that he used to come a lot and take me to the cinema.

He probably took the ticket money from me and himself from my mother, and I remember my first cinematic memories of going to the cinema with Bijan Raees Firooz, when we went to the cinema.

And one of the studios, I think the Golden Age, if I am not mistaken, was in the Narmak area

As a result, I also saw a lot of filming there

Later, when I was in high school, one day I saw a quilt embroiderer in our area that was crowded.

I went closer and saw that they were filming, it was filming that I think Mr. Nosrat Karimi was working on.

The late Yadollah Samadi explained that the child was our place and we did not know each other

Later, when we met in the cinema, he said that he had gone to the same day and the same filming session.

And he had told Mr. Nusrat Karimi that he was interested in cinema and had entered the cinema profession

I really did not have a childish world in the sense expected of childhood and childhood

My mother expected a lot from me to be a student and do my homework properly and therefore not play.

And that, in addition to other factors that made me interested in books, made me a book-reading kid.

And when I saw the poor, I fell in love with that movie because of the intense interest I had in it, and I fell in love with Cosette as a child.

I probably read the book of the poor, the pocket version and its summary twice in the summer of that year, at the age of 10.

And this habit of reading books has remained with me until now, and as a result, I had less childish mischief like the rest of the children.

I was naughty, for example, I played football, I was busy in our school.

But I was a little more serious, a little more thoughtful, as if I had to be a child in my childhood.

I was going to Olynia Primary School in Narmak, which is right on the south side of the University of Science and Technology.

And I went there for 6 years of primary school, but for another high school I went to Kharazmi National High School

Anyway, my mother insisted that I definitely go to a good high school, even though we did not have many good financial means.

My mother’s role in my life is very, very important, and that ‘s it

She was worried that I was her eldest son, and she spent most of her energy on me

Motivated to learn to read and write, he was very cultured and read magazines and books regularly.

And for example, one of the prop singers was the tablet of all elliptical works

Academic education does not necessarily mean that one can have this cultural sensitivity.

At one point I realized that I had a talent for painting, I was unusually interested in painting.

When I discovered this device, I did not feel sorry for anyone anymore, meaning that all my notebooks and my brothers’ exercise books were full of my drawings.

But unfortunately this deviated towards copying and learning a kind of drawing skill

I continued this path in elementary school and copied Rafael’s works

For example, when I was 14-14 years old, I was experiencing another level of life.

Reading books and acquaintance with Sadegh Hedayat and Martin Luther King, Kafka and Saedi in the same high school period

I remember doing a series of experimental works, for example, I drew abstract works by combining different inks.

Maybe because I read Ferdowsi and Roudaki at least in high school, that is, although I was not close to these official fields of visual arts.

But from a distance, I realized one thing, that is that painting had become very serious for me and I was famous.

There was a magazine in our high school, in the Kharazmi cultural group, or I think it was just our school, number 3, called Poopak, which we got.

I was paginating, designing, writing film reviews at the same time, or writing book reviews, for example.

I was working in the theater, I arranged one of Abbas Pahlavan’s stories for a stage performance and then I wrote and directed his play.

I retold one of Saedi’s stories from his magnificent nightclub collection

It was completely raw what I was doing, that is, it was not serious work for the theater at all

Or at that time it was expected that we would make comedy theaters for entertainment to celebrate the end of the year.

But we took these very serious claims inadvertently, I mean I was famous in high school

I went and saw Mr. Samandarian’s rhino play, which was performed for the first time in the Ferdowsi Hall of the Faculty of Literature, with Bijan Raees Firooz, and it was amazing to me.

I went with Abbas Javanmard to the dog show in the harvest place in the 25th of Shahrivar Hall at that time and today in Sangalaj.

I went to see the Google Inspector directed by the police, which affected me a lot

Because I saw the stage design for the first time

This socializing and going to places like this may have been a factor along with reading different books to get me

While in school, for example, I was buying and studying for boys and girls, that is, I was a student.

I had a children’s magazine, at that time the children’s universe was coming up and girls and boys

In the same period of elementary school, I remember that, I do not know why and where it came from, I bought and read a scientist magazine.

The scientist also had a lot of scientific discussions, but the scary discussions about the soul were very interesting to me and I read

Sometimes I was scared and I explained these to my friends and they were also scared that the soul would leave the body.

Anyway, I want to say that there was definitely a fun aspect to this press, the press that I dealt with

I also had a cousin who was very fond of reading magazines, every time we went to my aunt’s house I had nothing to do with the others.

That is, I did not play with other children, I would go to a room that was a bed closet and they would make the beds there.

It was a shelf full of magazines, meaning this image is really always on my mind as I went and sat on the beds.

And I flipped through all these magazines, and the smell of straw paper and its ink was still in my nostrils.

I was involved in this, and when I went to Kharazmi High School, I read books, and even the prizes that were sometimes given to me on different occasions, and because of my paintings, were strange things.

For example, I remember that one of the teachers gave me a book on the geopolitics of hunger by Jose Ducastro, when I was in the eighth grade, for example.

Well, this is a book about the geography of hunger in the world and things like that

And I, at that good age, naturally could not understand all of this very accurately, but I was reading

Or what is a human book? Mark Twain, which is basically a philosophical view, I read and was influenced by that philosophical view.

So much so that in one of the essay classes, where my essay was also good, I once said that I did not write an essay but I wanted to come and talk about a subject and I went and talked about it.

Regarding Mark Twain’s view of the universe and what it’s like, our teacher was surprised by what I was saying.

And he said, well, for example, your grades are good, but put this nonsense aside and what are these radios and who did these things?

My summer hobby was writing the lives of celebrities and drawing their faces.

That’s Mark Twain, because I wrote the summary of his life, and his real name, Samuel Langhorn Clemens, has remained in my mind ever since.

Part 02

I passed the national entrance exam and was accepted to Isfahan Mathematics, I was neither very interested nor practical

In order to take the entrance exam again next year, I heard at that time that in the Faculty of Dramatic Arts, the field of decor is one of the educational fields.

The one thing I was most interested in was the theater, which I liked very much and I thought very seriously about the decor.

In my theatrical work in high school, I realized that stage design was a serious thing, and I became interested anyway.

I went very consciously and took the entrance exam in the field of decor, there were 2 stages, the first stage was design and writing, and the second stage was interview.

In the very first stage, I was rejected, that is, I was not among the first 50 or 100 people to reach the second stage and the interview.

Coincidentally, I saw another ad that said that fine arts has a special entrance exam

There were 4 disciplines, architecture, visual arts, drama and music

He wrote that those who have mathematics can participate in all of these, but only those who know mathematics can participate in architecture.

I went and took the college architecture entrance exam and I also wanted to take the theatrical entrance exam because I was interested in theater.

At the last moment when I wanted to write and send the form, I saw what the exam materials are written and what their coefficient is, etc.

For example, artistic information, other information and acting, optional role and mandatory role

But he wrote visualization, design, volumetrics, and all that, so I accidentally called it visualization

As a result, I took two entrance exams that year, the same year 53, one architectural and one visual

When I went to the entrance exam, I realized that everyone who came for the entrance exam has a booklet and they are also students in the entrance exam studio, Design Atelier

Ateliers that seem to be for the education of those who want to enter these fields and I did not know that

I have completely lost my spirit, which is good that I will not be accepted, and it is clear from now on

Because, for example, it said who the Impressionists were, and that one said who Cubism was.

And well, I had nothing but the general information I got from those magazines, and I had not read any special publications.

After I passed the visual entrance exam, in order to remember the tragedy I had endured at all.

I remember going to the story town cinema, maybe I sat down with Fellini’s satirical film and saw that I only remember this

And it passed and I was waiting to take the national entrance exam again next year

It was in September that one of my high school classmates went to my friend’s birthday party.

He had gone to our house and approached me and had come to the place where you do not want to register in the fine arts.

Because they are looking for you and I heard by chance, I said where, he said fine arts

I was not accepted as an architect, but I was ranked first in the visual arts

Of course, I went immediately the next day and registered on the last day, my tuition was free and the allowance was free.

This is why I think my dramatic friends made a mistake because I had given both entrance exams with the same design power and with the same mental reserve and knowledge related to this field.

The next year, when I took the entrance exam again, of course, only under the pressure of my family, for example, a painting that has no end and architecture and engineering are better.

I reluctantly went and took the entrance exam for architecture again, and unfortunately I was accepted again and became the third student.

And the college asked me to because I had the highest design score in the last few years, for example

But it was true that I was going into drama and studying scene design there, and I was going to get to my life sooner.

This was a problem in our entrance exam system, it put me 10 years behind where I should have been.

I was 53 years old in visual arts, 54 years old I was in architecture, so I had to study for 6 years to graduate

The year 1956 was the first excuse to close student libraries, student protests began, and in fact coincided with what was happening in the cities.

I also became one of the activists of these student protests in our college

Well, I was one of the clients of the student library, I always went to the college library itself, and it was a student library where the kids
They laid their own eggs

It was a bit political, like a mountaineering room, like all colleges, in fact, these were a bunch of student organizations.

Who had a bit of political leanings, political sensibilities at least for those who went or worked here.

Of course, I did not really have much political knowledge, but because I was interested in books, I also worked in this field.

It was that when the library was closed, well, I protested at once and I protested very seriously.

In 1957, the universities were closed, that is, the military rule that began and the universities were closed

I and some of my college friends and classmates thought that we should do something and participate in the demonstrations well.

But what can we do as children of fine arts, for example, we thought that we should design and exhibit well

I had an idea to come up with these designs and put together some kind of accordion

And let’s go anywhere, for example, and open these quickly and calm down and let people see, well, it could have stimulating effects.

I was one of the main people holding this movement, but it took a while to gather the plans and these.

And we heard that the 1,000-bed hospital of that time, the guards and the military did not go into it

We said, well, there’s a good place to hold the exhibition there

It was in early or mid-December 1957 that the National Independent Organization of Academics reached an agreement with the then government to open universities.

Well, we saw that now we have gathered all the work and the range of those around us has increased

That is, for example, there were no more students, for example, Arapik Baghdasarian, who was one of the old children of the college and was an animation filmmaker and a contemporary of Kiarostami, he also wants to collaborate.

Nikzad Nojoomi, who was a very sharp painter and at the same time very famous and well-known.

For example, perhaps because of his acquaintance with Arapik, he also came and all of them came together, and then little by little, Mr. Momayez himself came and said that I would help too.

And the first day the university opened, we left, and I announced there that we wanted to do the same in college, and that anyone who could help would come.

This led to the establishment of an exhibition of revolutionary posters at the Faculty of Fine Arts

And there were other things going on in our college, like a strip movie

Like puppet shows, theaters where children worked, all of which were in fact anti-monarchy themes and spaces that existed at the time.

The exhibition was very, very successful, there were two main centers at the University of Tehran at that time

One was the university mosque, where some clerics and scholars were sitting

And the Faculty of Fine Arts, where these exhibitions and the activities that took place in it somehow responded to the enthusiasm that the people had and still came to in this revolutionary atmosphere.

We held that exhibition before the revolution won and it continued until February 10, and I was the director of that exhibition.

When the revolution won and did something that could not be done until a few days later, and then we came to the conclusion that it ended well, the period of this ended.

Most of the themes of these posters, which were also Arthur, that is, their origin was the character of the king himself.

And he was gone at all, and it seemed to me that it no longer meant that we wanted to repeat this and put together an exhibition.

….. They called the children’s book that they want to exhibit the children’s paintings in one place, and well, the university was also a very crowded place and they came a lot.

We held an exhibition of children’s paintings, and then Nikzad Nojomi came and told me that some good photographers had a photo exhibition of revolutionary photographs.

At Farabi University, Vali said that no one dies there to see, they can be brought here

I was 22 years old at the time, but as the person who organized the exhibition, I said that I should see the photos.

I mean, we have to see if we can hold it or not, the photos were brought and the photos were of Bahman Jalali and Maryam Zandi

Later, some of these photos were published under the title of Days of Blood, Days of Fire

Until I saw the photos, I realized who I really am and I want to say something, and that exhibition will be held in Esfand 57.

The next year, I think we held another exhibition and then these exhibitions were closed

The school opened, but naturally it was not very orderly and orderly

I mean, for example, I have to be in the fourth year with the continuation of my education, it was not like this anymore because the units fell behind and went to the Cultural Revolution

I had passed my bachelor’s degree, but the university was closed, and at that time I was working for a film magazine.

When the university opened, we went twice and registered. It was in the middle of the semester that 90 students from the Faculty of Fine Arts were expelled.

Because my name is positive, I was on the list of the first person, that is, I was not lost even in the middle, and the first person was my name.

Of course, we protested, but they said no, that means nothing belongs to you, neither a master’s degree nor a bachelor’s degree.

I also thanked him and came out, which means that I was working and living my life and I was in the cinema circuit.

For example, the same path I was taking was very attractive to me and I, who had passed that passionate course in 1957 in college.

Honestly, the atmosphere that prevailed after the opening of the university was not very exciting for me to continue my education.

I was the eldest son of the family and naturally felt very responsible for the family

The fact is that I was so caught up in it that I was never in a position to think about marriage at all.

Later, when my work became much more serious, I had the joke that we want to create an association that is completely anti-marriage.

We do not allow anyone, that is, not everyone deserves it, I was very strict

And with that joke, we were actually living our lives, and what usually happens when I call it a thug, a thief comes and hits you.

It was a coincidence that I really met my wife and they were editing the film Lady Ordibehesht.

One night, Ms. Bani-Etemad called me, it was close to the festival, I think, and they were making a sound.

I was called to go to see a scene from the movie, a scene where the main character of the movie, Forough, is riding in a car and Pavarotti’s music from the car recording is being played.

There they introduced me to a woman, a girl who is a painter, and she brought us one of our friends and Sidi Pavarotti, who was looking for her. She was one of their acquaintances.

I saw Samira Alikhanzadeh in that meeting, which was a quarter, and I only knew that there was someone who painted and brought that music.

It was not until 1978 that I designed the play Richard III, directed by Mr. Rashidi, and it was a very successful and popular play.

– How long is it?

Year 78, 2 years Maybe after the first meeting, Davood Rashidi sometimes called me when I was on stage and performing to control the lights myself.

I mean, in the last run, he was calling me too, I went up too, then when the show was over and I came out

I saw that these are our mutual friends, including Samira, and we said do not be tired

Samira told me that I have a painting exhibition at Golestan Gallery, it was her second exhibition that will open, for example, and she invited me.

Because I was also a member of the board of directors of the Cinema House, I said I do not know because we also had meetings on Saturdays.

I said I know it is unlikely that I will come and go, but I come one day a week

I do not know what happened, I went earlier and said that well, first I will go and see Golestan Gallery and then I will go and get to my meetings

This is the first person I went to the exhibition, I saw the works and I liked them very much, I also bought one of the works

I think in that meeting I got the work and the owner of the work together because we got married 4 months later

Part 03

Although I was an architecture student, I had a history of one year in visual arts and a very, very great interest in the world of theater.

Many of my comrades and friends were children of visual arts and theater, again because of the graphic work I did with some of these theater children.

I had some collaborations in the student works that were performed in Rumi Hall

For example, I remember that Siddiq Tareef, a well-known singer, was now my contemporaries and studied theater.

And he also directed a play that was now alone or with someone else, spell in the name of God, if I am not mistaken.

I painted his poster for them, for this purpose Nasser Yousefinejad, who was also one of the same children of the same period.

The play he wanted to work on in Rumi Hall, he suggested to one of my classmates in a visual that he should design his costume and I should design the stage.

Who were mostly students of fine arts and a number of children were dramatic or out of these two colleges.

Like 17-year-old Motamed Aria, who played the lead role in that play, Massoud Raegan, who was not our student but played in that play

Mehdi Miami was our student, Amir Barghshi was our student, these were the actors of this play

After that famous exhibition of photographs of the revolution that we held and I got acquainted with Bahman Jalali

I asked him to come and photograph her for the poster of this play

I have very good memories, it means the excitement of the first work that the spectator comes and sees the scene and everything is serious

I slapped him on the back until the show was finally over, I remember for the first time the temptation that everyone suffers from.

To go and get a little old with their make-up and see how they get old. That’s when I did the same.

And the performances of the play came to an end, he also had successful performances

For me, of course, as the first experience of a good career, it was instructive, but all the flaws of the first job were faced by someone who basically has no academic education in this field.

I was doing good graphics at the time when the university was closed and we had to live the same way anyway.

It was a project that Mr. Momayez proposed to the Center for the Intellectual Development of Children and Adolescents

A list of national heroes of Iran should be prepared, for example Kharazmi, who may want to hold a ceremony or conference on the occasion of Kharazmi and a poster should be put up.

Well, let’s prepare that poster now, he had given me this design and he had said that I would not kill all this.

Distribute this among different graphic designers, ask each of them to come and see which one they are interested in and go and prepare his poster.

Keep these posters for later use whenever necessary

I did not see the use of this collection later, but one of them came to me, of course, they were kind because I was very young, they told me to choose one of the people.

Of those who remained, I was drawn to Ibn Haytham. I was very interested in him because he was an Iranian physicist, in fact, or for Islamic civilization.

Who first discovered the phenomenon of the dark room and that it is reflected through a hole in the inverted image on the wall in front of him.

Following this, he is in fact an important person in the history of photography

But because I was doing graphic work and I was doing different things and I had to make money anyway anyway

In the same year or two, I had the opportunity to create a lithograph that, for example, did lithographic work for film magazines.

He agreed that the loan would work for us, and someone said that I would take the paper and pay for the printing, which was again a loan.

To make a graphic and visual magazine, a visual arts magazine

In fact, I suggested that you do this and they said yes, I went to Mr. Momayez that there is such a possibility.

And if you please come and with your credit anyway, you will be the editor of this magazine and I will do the executive work.

Let’s get together and put money together and share the current expenses ourselves and make the magazine.

They agreed and meetings were held and the name was chosen, Ghobad was Shiva, Fawzi was from Tehran, Farshid was Mesghali, Arapik was, Bahman Jalali was in the A section.

We also named it the design and image, the first issue was also published, Mr. Shiva was also published.

Various articles were written about him, I also wrote an article, a summary of this collection was to be published.

That suddenly the price of paper went up so much because of the problems of the war and this publication was never published.

Only Ibrahim Haghighi, who was one of the children in this group, put his name on his office for a while.

Arapik actually made me go to a movie magazine and start my collaboration with a movie magazine.

This collaboration was very influential in my future destiny, because it was there that, well, first of all, I got very close to the world of cinema.

And in fact, I learned more about cinema and my favorite field, design through the content and resources that were there and the friends who were there.

With the poster I made for the film Interrogation of a Crime, the first work of Mohammad Ali Sajjadi

He invited me as a designer for his second film, which was a treasure

Bahram Dehghan and I went to film magazine to do this. I had my first experience in costume design and Bahram Dehghan as an assistant and programmer.

This film was made when we wanted to pre-produce it because it was the producer or co-producer or the main producer of the Foundation for the Underprivileged.

Where there is now a museum of time in Saffron, there was a confiscated building and this building was given to us as an office.

We also filmed parts of the film there and then went to Rasht

We shot the rest of the film in Rasht and some of the scenes were in Tehran and we returned

But the point is that another film was being produced at the same time with us, called Saf

There were two models of filmmaking, we were a very crowded group and we went and finished the film

The second group that wanted to make the film Saf had a lot of possibilities, but I think we went back and forth and they hadn’t started filming yet.

This is a model of making films that do not seem to be the real purpose of making the film itself, and some people come together and spend some money.

I saw this for the first time in the same movie and in the very first location we went to

During my many years of filmmaking experience, I went to different parts of Iran and what a strange capacity our country has in terms of climate diversity and strange and attractive spaces.

One of them was in the same movie and I think the final sequence of the movie took place there, the main and final part of the movie which was in Rudkhan Castle.

Rudkhani Castle, which is near Shaft and near the city of Fooman, is an old castle for the Ismaili era.

It is one of the castles that was a little bit safe and we filmed there

In this film, Habib Ismaili played and Parviz Pourhosseini played

Ali Mehzoon was also, Ali Mehzoon is one of the old actors and directors of theater and cinema since the 30s

We filmed some scenes of this film in two versions, with and without hijab

I mean, the hijab was not yet completely mandatory at the community level, I think they issued some directives and it was more limited in the departments.

I remember talking about filming was about what to do with this hijab story because it was still in a state of uncertainty.

And that we got two versions, and after that, of course, this never happened again, and in all the films, the actors wore hijabs.

Little Ali was good for a very memorable generation. It was an animated series that aired on TV and had 30 episodes.

And he had a character named Ali, and he was called Little Ali, who lived with his mother and his father had gone to war and was probably martyred.

It was actually an educational story, how I reconnected to this project, it was both interesting for me and as if it put my destiny in a situation.

Bahman Jalali told me that Hassan Tehrani, one of their old colleagues, was also an exceptionally good TV and comedian.

He is working on a project called Little Ali and several directors are supposed to come and prepare this animation.

Ebrahim Haghighi also does graphic and animation works and Bahman also photographs

Because these had to be photographed one by one on a plateau, that is, as if they were being photographed frame by frame.
Fit but good with a more limited number of frames

This means that unlike full animation, which is 24 frames per second or 12 frames per second, these should be much more limited.

And take the photos away and stick them on the talc and create the space using the background.

And now there is a decoupage and a lamb under the camcorder and frame by frame

He said I was going to go and take pictures, but since I was going on a trip, I could not continue.

I will go to the first part so that this method will work, then it is supposed that Rana, their wife, will take photos.

And Rana is not very tall and needs help to get someone to move these lights.

I was actually given this job as a technical assistant and a few cameraman assistants and I said okay, I’m coming

The place where the filming took place was a platoon belonging to the broadcasters, a place where Mr. Yeshayei had previously heard from them later that they had an advertising company.

And many of those teasers were made on the same plateau, an empty room with white walls.

And the camera did not actually move, we had to move the character, that is, the hypothetical line can always be lost.

Little Ali was filmed on the broadcasters, and I witnessed the work well with those who worked

Amir Hossein Ghahraei made the first part, of course he also went on a trip and then Shahla Etedali and Javad Mirmiran were the directors who each worked on some parts.

It seemed to me that things were going very slowly and that they had to turn the actor around to get, for example, Orsholder, close-ups and long shots.

And the camera is stationary because the light doesn’t have to move much, which is confusing.

If they draw a storyboard for any good story, then according to the storyboard, the directions will not be lost.

Because these directions were constantly lost, that is, the hypothetical line was lost, Javad Mirmiran lost more of the hypothetical line.

And they doubted whether he was looking to the left or to the right, and the pictures he was taking were negative, meaning he had to go and print and come to find out what had happened.

I mean, it’s unimaginable right now, but it was so hard to do it while it seems so simple or it’s so simple now.

I suggested that it would be much easier if we drew these storyboards, Hassan Tehrani said kill well and prepare one

I said, well, it should be a decoupage based on which I do this, he said decoupage and prepare one of the stories yourself.

And I sat down with one of the stories and for the first time in my life, I decoupage a text and converted it to different image sizes.

And I drew his story board and I was told to make it and play it the way I thought I did it right.

That is, I did not explain to the actor, who was little Ali and 2-3 children, how they should feel

In fact, I used to tell them what facial expressions look like in front of a mirror.

And they did not know, they were children, and they did not care at all how they should feel

It should have taken a mimicry of the face or a figure, I was saying these things sharply, this is how quickly I managed to take an episode.

And since the preparation of the animation had reached the last days a little later, Abi (Ibrahim Haghighi) asked for some episodes as well.

At least the work that I did myself or another work ‌ and another part of the work of other friends to do the animation work.

It was a good experience for me to actually do something in the field of animation.

And later I used the same technique in the captions I made

Another memory I have is that all these texts were narrated by a woman, Ms. Fahimeh Rastkar, in a studio on the prison road belonging to Mr. Ghahremani.

One of the stories that I worked on and took to them to tell and record the text was a mosque attendant who had to say something behind a loudspeaker.

He said that this is the kind of thing that I can not say, you say this, I said that the procedure is that everyone has a narrator.

He said ok, no problem, try now, I said I do not know how to dub and speak behind a microphone

He said, “Let’s try now. In short, I sat down and did this 2-3 times.”
I said yes and he said let’s see if we can use it now

Later I heard from my mother that once she was sitting in the house and the TV was on and she heard my voice.

Of course, I did not see that part myself, but it became a memory that my voice was once recorded next to the voice of Ms. Fahimeh Rastkar.

Filming the spell as I heard it because of the difficulty of designing the scene

Creating that space, and especially the mirror room where the characters were supposed to enter in the story, and from there to an underground with a hidden door.

It seems a bit difficult for some of the designers I went to

Mr. Momayez, who may be one of those who was also offered the design of the film

They called me and said that there is such a thing and you will die or not

Honestly, I was more of a graphic designer at that time and I did not take my work in cinema very seriously.

I said read the script now and then decide, this was not a very normal behavior

Usually the agents were not very sensitive about the script, it was enough to offer them a job

But I read the script and it was very interesting, I talked to Dariush Farhang on the phone and we went and the work started

Ganj was banned for a few years and was not shown, but this was the first film of mine that was shown and its atmosphere was also noticed.

Basically, one of the things we do as a designer is create a cinematic geography, which is not necessarily real geography.

In this film, I actually experienced this in a very specific way and used it

How can we somehow put scattered spaces together in a film that captures a geography, a unit in the viewer’s mind?

Now let me explain about the movie Talisman that the story starts from a village, we filmed it in the north and near Gorgan

Crossing a plain and a forest, filmed in the confined forests near Gorgan or Gonbad

And then they approached a building, we filmed this building in Saadabad Palace, one of the palaces where the northernmost building in the Saadabad complex is, with some changes, of course.

When we get very close to the building itself and enter it, it was a building on Kooshak Street, which was a club in Tehran, and it was a very old building.

The French building was built in the first Pahlavi era, very accidentally near our office, our logistics office said that there is a strange building here, so let’s go and see

Because we were just looking for a place, we were looking for that main mansion

We took the whole interior of the spell movie in this building, of course, it was an empty building that we put all the curtains and boards and arranged the accessories and turned it into a standing building.

In one of the large halls, I prepared the decor of the same mirror room, which was actually connected to the basement with a set of fasteners.

The basement on Lalehzar Street, Pirnia’s house and in the basement we took the whole scene

These locations are hundreds of kilometers apart, but their collection created a single geography

In my opinion, the spectator is not bad if he knows that what he sees is not necessarily true

It is a lie that if told skillfully and is believable, it can sit right in the mind of the viewer and accept it and accompany it.

Another point I experienced again in this film was the aesthetics of the work

It was a good movie about a village, and these villagers who go to a khan’s house, for example.

The story is known to be for the beginning of modernity in Iran, for example, the late Qajar period.

Well, it does not mention what the clothes are like or what the atmosphere is like

For example, where is the village located, in this region, with the diversity of climate that we have in our country?

I because of the structure that actually had the story and the kind of dialogues and relationships that were in it

It seemed to me that we should actually distance ourselves from that form of rural films, the form of ordinary rural films and the stereotypes of Majid Mohseni.

And without being wrong, we can actually have a documentary, we can cite a region in Iran itself, rural areas.

But let’s actually break away from that aesthetic and move on to another aesthetic that is closer to this era of modernity.

Masal region had these conditions, now it is a good forest, Masal region means from Masouleh to Hashtpar and Talesh and these are that region

There the villagers wear coats, vests, the clothes of the village women are elegant clothes, they have an attractive form and very good colors.

Their architecture is a bit influenced, maybe you are going north, the architecture of Azerbaijan and Russia is in fact

That culture can be seen more or less in the architecture of Anzali and Rasht

All of these were, in my opinion, the right model, so Attila Pesyani, a village boy, appeared on stage with that dress when he put it on.

He brought with him a new face of a villager, and later became the first young man in a number of films

Because of this initial appearance that he may have had in this film, of course, he had acted before

In the first film, I learned a lot from Sami Sitani, and in this film, I invited him to work

But he was very disabled, he was very depressed, he was old and he was addicted and he could not work properly, but he needed this money.

He asked for some help, he said there is someone who is one of the theater decorators, let me bring him by my side

We all understood the reason and said that there is nothing wrong with it

Someone came up to me and said at the beginning that I am a theatrical person and I do not like cinema at all and I am coming here to help you because of Sami.

That gentleman’s name was Saleh Panahi who became known as Osa Saleh, Osa Saleh now unfortunately got Alzheimer’s as I heard

But, for example, one of their latest works was supervising the entire set of the series Mokhtar or Mohammad and these

He was very experienced, he had been working in Nasr Theater for 30 years, he had been working in Nasr Theater since he was a child.

And I learned a lot from Osaleh, and because of the designs I was doing, he understood that too.

He did not like the children of the cinema and was somehow afraid of them, but the designs made me understand him quickly because he was perspective and very expressive.

And he also told me that in my own language, which was also Ardebili, you somehow kill Ardebili that I understand

It is that we found a very good relationship and I am happy that it had a good start, he came and stayed in Iranian cinema.

And he worked for many years, that is, he worked in the cinema for about 30 years, and 30 years ago he had worked in the theater since he was a child.

The next point was that this room was a mirror, the mirror room is not a complicated thing in my opinion, that is, the design of that space is not a complicated thing.

Finding a way for us to be able to film through these mirrors was not a complicated thing either.

Orson Welles has done this before, Chaplin has done it, they have sequences going into a room full of mirrors.

And the images are not repeated and of course the camera is not known and should not be known

I suggested different ways, including placing a mirror as tall as the octagonal room mirrors in front of the camera.

The mirrors that were actually installed in this octagonal room, to be octagonal so that these reflections would happen more.

Put it in front of the camera, just make a hole the size of the lens so that the camera and videographer can hide behind it.

As a result, we may only see a black dot in the reflection of the images in the mirrors that no one notices.

Well, everything went well, only one thing remained, there was a culture at the time that seeing through the viewfinder of a camcorder was very special.

That is, only the cameraman and sometimes the director could see the plan from behind the viewfinder

No one was right and it is not clear why, it is not clear why it was a confidential document

Well, I followed the same, of course, I did not have much of a problem with Alireza Zarrindast, with whom I had worked on my first film and was in this film.

But I really trusted him for this scene, he asked me it was good natural, he needed lighting to place his light sources in one place

We did not hit the ceiling, we also raised the height of the walls

The tops, in the way he usually shoots, were draped with a soft cloth so that soft lights could come on.

We also created a network that could actually maintain this spatial structure

Mr. Zarindast asked me to do something like that, to fix those networks as well

That was not necessary, but now I made it and put the color filters that they use and put in front of the light on top of it in a certain order.

I said what are these, he said these are the combination of colors and these, so far there was no problem and they just should not have been seen

Because no ceiling can be like that, it means a very bright ceiling with colored spots in it.

I was sure or I was expecting that we would definitely get a few pieces of angles to cut the ceiling and in fact we would not see the reflection of the ceiling in the mirrors

After the rashes were seen and when the filming was actually over and we saw the rashes

I saw that all these ceilings can be seen and there are the same stains and filters

I said why did you do such a thing, Ali, it seemed beautiful to me and he did not realize that it was irrational at all

Later, when the film was shown, this sequence itself is such a strange sequence and so much attention is drawn to one thing that they do not pay much attention to it.

But except for the one time I saw Rush and the one time I saw the movie maybe at the festival

I went later and talked a lot about it, I never saw this movie until a couple of weeks ago when I had to explain it for an adventure.

And show a videographer what your colleague did with this image

In my opinion, this is a mistake due to not defining the professional relationships that should exist in cinema.

And I think there was a serious damage to my work, which is very personal and only I know

Because no one really ever even told me that, but I know it was such a big mistake and I was not to blame.

And that was the lack of coordination and the right relationship with the cameraman

Part 04

I had left Tehran for a break after the movie Talisman and then I returned to Tehran, I was offered the movie Autumn

Khosrow Dehghan, Behran Dehghan’s brother, whom I knew from Film Magazine, also called me, saying that we also participated in writing the script, and that this must be done and that it is a good film.

And I went, you in the film’s credits, if you pay attention, I am my stage designer and Ali Abedini is the costume designer.

In that work, it was suggested that there is a young man who was preparing women’s hats in the movie “Gifts”, so he should come and cooperate with us.

I thought he was coming as a clothesman or an assistant, a meeting came and he said that I had some thoughts and he showed me some drawings.

And tomorrow he was supposed to come for a make-up test and, for example, go and buy some scarves that did not come.

This delay and his behavior made me say that he did not come at all and I did the work without an assistant

But in the end, I did not see the film either, because the atmosphere and relationships behind the scenes were so bad, the fight between the cameraman and the director, and the tensions that existed.

It all made me somehow reluctant to see the film, years later I was unemployed in a city and I went and saw the film and saw that it was the film of autumn

And I noticed that the name of Ali Abedini came as a costume designer

Another point, of course, was important about this film, because it was a road film and they had to travel a long way.

A device was created that later filmmakers are actually the next generation

The first time a floor was made, we called a floor, which was towed by another machine.

And we put the main car shell on it so we could film

It was the first experience and sometimes funny things happened, you braked, it went and everyone ran after it.

For the history of Iranian cinema, it can be said that this was the first time that a device was used for filming when the car was moving in this way.

Ms. Bani-Etemad’s first film was a comedy film, based on a true story

Someone goes to the police station to record a summary of a crime that happened but they do not register it anywhere.

And this weird comic book situation was an excuse for a critique of these bureaucratic relationships that actually erode people.

Mehdi Hashemi played the main role of Mohammad Javad Halimi and it was decided to pretend that this story took place before the revolution.

As a result, we tried to do some of these reconstructions in the space

Let’s go to places that are reminiscent of these spaces

Well, I started designing and our main location, that house in Shemirano, we found a place, a house to go to and film there.

It was my first serious experience in aging the space, we got a house and the poor landlord thought that now they are filming in his house and this will be recorded.

While we were adding something, I started painting, obsolete this space

For example, I plastered the bottom of the plaster wall and the spots that, for example, the plaster was spilled or painted and the whiteness was seen under it, I did all this with painting.

It’s a specialty that we seriously do not have in our cinema at all

Sometimes we do things experimentally, for me it started with that work and then in other things I tried to do it a little more seriously and better and pass it on to my assistants.

But one of the infrastructural problems we have is the specialized training of our profession

The design profession, in its advanced form, is 70-80 specialties side by side

One of them is, for example, the same specialty of aging space, aging doors and walls, aging a fabric or aging a device

These all have experts and methods and techniques

There were a few stories about my childhood memories that became an excuse to use them in this film.

One is that my mother once took me and my brothers to the Ferdowsi Store, an old store that opened in 1937 and was the first store to have an escalator and was a very modern store.

And it is interesting to know that Mr. Entezami was the first manager of this store, when he returned from Germany, he had gone to take a course

He used to be the manager of this store to work

There was a small hall in the Ferdowsi store, a very narrow and small hall that was designed to

When shoppers come, when they want to shop, they leave their kids here to watch movies and have fun and they shop.

I remember the movie “Trap for Parents” that I saw there, “Trap for Parents” is the same movie that Kianoosh Ayari later made the movie “Strange Sisters” based on.

Two twin sisters who change their clothes and go to their divorced parents

The whole building and that space remained in my mind, in parts of the film we went there and filmed

And my assistant in that job, Ahmad Rajabi, for example, is painting the door and the wall there

He was really doing what he was doing, but we tightened his clothes and sometimes he was playing, and here he is playing a scene.

This is in Ferdowsi store, that is, if you watch the movie, we registered Ferdowsi store in one place anyway.

In Narmak, where we were sitting, there was a photograph called Central Photography at the top of Haftouz Square.

Who was taking typical studio photos, the photos they were taking and the photographer was gesturing to them, for example, how to look, and it had very special lighting.

For this film, it seemed to me that Bates framed the photo of Mehdi Hashemi and Parvaneh Masoumi, that couple in the same way we did, and hit the wall, it created a lot of space.

We went to the house of Shahrokh Sakhaei, who was the film photographer, I posed for them myself and took pictures of them in the same way, we also took single photos of Mehdi Hashemi

It was fun too, we laughed a lot, because of the poses they had to take and we printed them out.

I also wrote the photo center on these photos and put it in the location

These are the personal things of each of us in deeds, it is a personal mischief that may be recorded in the movies in the same way

And we know it, and of course it was really relevant and necessary, but photocentral photography is my childhood.

Another important location we worked on in this film, which was also a new professional experience for me.

I went to Tejarat Bank, the old bank in Topkhooneh Square, on the east side of the square

This basement was a wonderful basement, an abandoned archive warehouse, a great place for a scene from the movie.

We went there and built walls with Ionolite to actually divide the space.

Ahmad Rajabi and Saleh Panahi were decorating, I think for me

Well, when we were making these, and these were made with ionolite, and little by little, they were being shaped, shaped.

Some employees would come and visit us when we were closed, I remember one day we painted and prepared everyone

With the methods and worries that seemed to me, it becomes more real, like jokes and such

The same two people came from the staff the night before, one of them was explaining to the other that they were decorating here and I do not know where he is now, I wanted to show you

I mean, he didn’t notice our decor, and I was so happy that he didn’t realize that what we made was decor

And I realized that then the decoration work can be very real and it should be so that the viewer does not notice it even from a close distance.

Because in the cinema the camera pays attention to details, gets closer, this care must be taken in the construction of the decor and everything else, such as clothes.

This is what I experienced in this film, and I think it was an instructive experience, in fact, what that person said brought me to how important this story is.

In one scene of the film, after Mehdi Hashemi goes to different places and repeats what happened

The thief came to our house and now I brought the thief for you to take, who will not take

When he repeats this several times, I suggested, I think it was in the same Ferdowsi store, to Ms. Bani-Etemad that

Now he is tired of this, tell the telegram, that is, say only the main words one after the other and quickly

Well, it was a funny joke and he did the same thing, this joke was repeated later in the movie Stories by Mehdi Hashemi in memory of that movie.

I remember Angelica’s ship in August ’66, in the summer We walked and went to find the location

There were two very basic points, one was the unbearable heat of Bandar Lengeh, the heat was terrible

When Bozorgnia and I left, we really couldn’t go a few more steps, we were just going to a shop under the pretext that a little cool air conditioner wind would blow us away so we could walk.

And on the other hand, it was the time of war, it was the time of war, and it was the Gulf War, that is, the order of planes and these stories

And our going into the water and into the Persian Gulf and getting away from the port was just as dangerous.

On the other hand, it was a heavy project, it was a historical project, a genre that is really adventurous and adventurous.

In the style of a movie and with an old ship that did not exist naturally

One of the pathologies that I think should be about Iranian cinema, one of them is how this film was estimated at all.

What did the production team, the production team and the production team think?

– Who was the producer?

The producer of the Mirror office, if I am not mistaken, was the office that Mr. Bozorgnia and Mr. Gholizadeh and Engineer Hamidi were, if I am not mistaken.

Now, if we start moving forward from this part of the performance, well, in Tehran and in the pre-production, we did the designs.

We made things like those gold boxes and those gold coins, for example

In fact, I am based on a motif and elements that could have been reminiscent of that Portuguese group in Safavid times.

They have boxes in which gold was poured and coins that are for that period

And these have sunk to the depths of the Persian Gulf and these are emerging, well we made them here

These things happened in Tehran, but when we went to Bandar Lengeh, I saw a big dinghy that I did not remember was 400 tons or what its capacity was, but it was one of the big dinghies.

We agreed to give this lounge to us for the time we are filming, after all the rewards.

Well, the lanyard had nothing, in fact, it was an insole and a tank that put the load in it, the bottom and the engine that was on top.

I should have turned this into an old dinghy, well I had some pictures

I had also come up with plans, but that a ship could really move with wind energy and sail, not an engine.

Because it had to happen, it was a very technical job

We found an old captain in Bandar Lengeh and asked him for help

I would also like to say that Bandar Kong, which was once more important than Bandar Lengeh, is one of the oldest shipbuilding centers in Iran, that is, more than a thousand or two thousand years old, maybe

Well, it’s a tradition that continued even when we left

The captain instructed us how many masts were actually placed on the slats.

And how were these restrained, and how were the sails actually attached to them so that they could work?

Since 1339, no ship had sailed this way. In that area, everyone else was moving by motorbike.

With the help of the same person who actually gave us this advice and Captain Ibrahim who was the captain of that ship

We found the masts from the corners of the city that had been abandoned, we brought the masts and mounted them, the sails were made and sewn

And a lot of money was spent just to buy the rope, things I was saying were not thought of in the estimation at all.

The ropes that could lift and lower these sails, that is, the mechanism really worked

That is, all the spies seen on the ship are the real spies and sailors of the same ship.

The main captain is also Captain Ibrahim, who is present in the film itself, and when we were actually moving away from the shore.

We were going somewhere with the help of the same ship engine that I had camouflaged

But from then on, using the sails themselves and the hymns and vocals they sang and the rhythm they had to be able to move the sails up and down in harmony.

We built the cabin, we built 2 floors, we prepared the railings for this ship

I made all the accessories and supplies on the ship, for example, that anemometer for wind speed, I really made all of them.

I made these and it worked, it was a device that moved with the change of wind direction

All of these were built and some parts in Bandar Lengeh and old houses were changed and prepared for our urban locations.

And we had one last scene where the castle is actually the British military

And I already had a plan to make, there is a plan, I think now, it is in the cinema museum

But while we were touring around, someone told us that there is a castle in the port of Moghayeh, near Kong and Lengeh.

We went and saw that it was really an old lord’s castle where only one or two people lived and it was abandoned.

But it’s incredibly interesting that we actually filmed it right now in the movie

It was very difficult work, I with the least facilities, because we did not have the budget, and even by stealthily and illegally removing the wood that was in the port to make the decor and prepare the equipment.

In any case, with great difficulty, all of us, all of us, were in fact in trouble, from the director down

We were able to prepare these scenes for filming and the speed was very slow

Because we were caught in the wind and sea waves, sometimes one plan a day we could only get on the water.

Because when we work with a sail, the wind can move it and the cameraman’s light records are broken and we have to go back again and it was very busy.

I think none of this was anticipated when they were forecasting production.

After a while, some scenes were filmed

The group concluded that the budget was not enough, so they asked Mr. Erfani to come on stage and see the rashes.

And if they agree, it will be re-evaluated, they came too and very fairly, no one really expected

He recognized very fairly that the estimate was not correct, but he could legally say that I want 50% of myself and I have nothing to do, and this is your problem.

But he agreed to recalculate, I think now because we have the cost figures in mind.

I think at that time, the total cost of producing Angelica’s film in 1966, that is, 31 years ago, was 6 million Tomans, which increased to 9 million Tomans in the re-estimation, and finally the film was finished.

It was necessary for us to have a British ship that chases the ship and shoots it with a cannon.

In order to prepare that British ship, I went to Bandar Abbas, selected a tugboat in the navy there, and with some coordination, they lent it to us.

We brought this tow truck to Bandar Lengeh with fear and trembling.

He came and we took the cannons that we had taken from Tehran, the old cannons that were, for example, for the Qajar period, and the cannons that were chariot and wheeled.

We made a change and placed these on the towbars and made a change in its appearance and wrote something on it.

And we made canopies and painted, and so on, and it turned into an old ship that can be seen in the movie firing from there.

– Does he shoot too?

The cannons fire, in fact the detonation and the explosion take place there, another detonator is placed in the water which explodes and it looks as if the cannon has fired there.

Nader Mirkiani, who was very smart at the time, did all these special effects and it worked well, Nader’s work in this film was very, very good.

I just remember that when we were done, the kids who were the tow crew and captain said that if this ball could stay here

If these planes saw us from a distance, they would think that we were armed, that is, his heart was satisfied that he could defend a little bit.

From this vehicle that only had to travel this route to return to Bandar Abbas

Of course, I traveled this route from Bandar Lengeh to Bandar Abbas and then to the city of Minab several times

Because of the accessories we see in the movie, a lot of these weird pottery that is in the ship’s tank and in different places.

I used to buy these from a market or a day market in Minab, I used to prepare and bring them from there and use them.

I personally went and chose a woman would make these jars and sell them

And he had a weird expertise in packing them in the back of the van so that nothing would happen to them until we got to the port.

Sometimes in transporting or unloading ourselves, one of them might be broken, but they had a strange experience that was the result of traditions and antiquity that had been passed down from generation to generation, and unfortunately it is disappearing.

In this film, we held the scenes we had in the south with the same problems

We blew up the room I had built above twice, and we sewed it together twice and blew it up again.

I had already gone and selected the black clothes of the army, shoes and boots in Ghazali town and from the warehouses there to be transferred.

Then it turned out that another group that was for TV went and took the things we had chosen that were good for themselves and sent us the similar one, so all the shoes were tight.

I want to tell our wealth how big it was, for example, the English captain had to wear a white shoe with that white dress

Once he saw that one of my assistants was painting a normal black shoe white.

You laughed at what these pranks were, we said that this is your shoe by chance, that is, he could not believe that we would paint an ordinary shoe and let him wear it.

I really want to say with the least facilities, that is, from the past joke, the scenes were filmed with the least facilities and the work was finished.

Lately, many children were worried, filming had taken until Eid and the Tehran rain rockets had started.

I remember that the children whose families were now women and children in Tehran were very worried.

When we returned to Tehran, we had to find good locations. One bad thing that happened was that we were faced with this lack of budget and time.

And we have to finish this film as soon as possible in terms of production

I was already very hopeful that I would be able to use this film and the situation to see the scene where Farmanfarma actually lives in Shiraz, for example.

It is as I imagine it was during the Qajar period and I saw a lot of photos in it

And not what is so neatly seen in Mr. Hatami’s films, I can put it in front of the camera

It was necessary to go to Shiraz or Kashan, for example, and choose our suitable locations.

Or we could go to Tehran and finally we had to operate that space, but because of the circumstances that had arisen.

We had to go and film the interiors in the Shah’s palace, in the Shah’s palace, which has nothing to do with the Pahlavi Essen period and had nothing to do with that old space, and Mr. Entezami was playing there.

The memory that I would say from the time of the war was one of the scenes in which Mr. Entezami had to say his own dialogues in the same White House or the Nation Palace or the Shah Palace.

And in the middle of the plan near Saadabad, they fired a rocket and its sound and vibration caused Mr. Entezami to move.

It was a pity that we did not keep this beech, which was out of date and we could not use it, because it was one of the documents of our cinema during the war.

When an actor like Mr. Entezami is playing, he feels an explosive wave and reflects it.

It was a big challenge for me to design and it was very hard work

My Assistant and the current owner of the film, Ali Sartipi, who was the second assistant director in charge of this film.

Due to the intensity of the work pressure, they were sent in a wheelchair to the plane to be sent to Tehran

Ali Sartipi never came back because he was destroyed by work pressure, my assistant came back after a while

It was a very difficult job, but the film that was made, well, these difficulties are not seen in it, but the film was extraordinary.

It’s one of the great works of Mr. Bozorgnia, and it’s one of the things that I did in my professional experience, even though I think it was the fourth or fifth thing I did, it was a very big project.

Let me close my talk about Angelica’s ship just by remembering that it is also one of the harms of Iranian cinema.

We had a storm scene in the movie where it’s night and the ship is in a storm

We had to film the beach, we had to create it using a rain fire truck

Water waves with a device and with a sloping surface We threw Ray towards the ship

There were a lot of people on the beach and in the port, a three-phase box was near us, our whole workshop was a metal shed next to us.

And in that noise because of the situation, and in fact the inexperience of our logistics manager who intervened in the work of throwing water through the hose that was connected to the fire truck.

And Nader Mirkiani, because of his severity, could not control that he was holding this hose, he could not control it and left it.

And this hit the door and the wall, there is a heavy nozzle and with it the water pressure

It passed over my head for a moment, meaning it really rubbed against my hair

It might have been a few inches lower and I am no longer at your service

Or, for example, it hits that three-phase box and everyone who was on that beach gets electrocuted.

I really do not know why we were so careless and why there was no one to take care of these issues

Part 05