مدي 1 تي في : مع نبيل عيوش ونسرين الراضي - 12/12/2024
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00:00Hello and welcome to a new episode of your daily and artistic patchwork show.
00:20I'm happy to be with you every day to present and share with you some news, works and innovations in the artistic field.
00:27So, let's get started.
00:34Hello again and welcome to the guests of today's episode.
00:58Welcome to the guests of today's episode.
01:06Ahmed!
01:27Hello again and welcome to the guests of today's episode.
01:35Taxi!
01:37Hello again and welcome to the guests of today's episode.
01:47Hey! Allah Allah! Allah Allah!
01:52Everybody loves Judah!
01:55Hey! Allah Allah! Allah Allah!
02:00I don't want money. I want to be a good sheikh.
02:03Hey! Allah Allah! Allah Allah!
02:10Hey! Allah Allah! Allah Allah!
02:15Everybody loves Judah!
02:17The film is currently in cinemas in Morocco.
02:20We have with us the director of this film, Nabil Ayyoush.
02:24Hello and welcome.
02:25Hello Osama.
02:27How are you?
02:28I'm fine.
02:29Welcome Nabil.
02:30We also have with us the hero of this film, the great actress Nisreen Rady.
02:34Hello.
02:35Hello. Thank you Osama.
02:37How are you?
02:38I'm fine.
02:39Welcome.
02:40Nisreen, how was the festival in Morocco?
02:42We had a lot of activities.
02:45It was the first screening in Morocco.
02:47We were happy.
02:48Nabil and I and the entire film crew were happy.
02:50We liked the reaction of the audience.
02:52We were looking forward to this episode.
02:55What was the feedback of the Moroccan audience, Nabil?
02:58We had a very good reaction.
03:00We wanted to sit with the audience for three years.
03:04As Nisreen said, we were looking forward to this screening.
03:07It was possible.
03:08The opening of the film was five years ago.
03:10Now, the film is seen all over the world.
03:13But we didn't feel what we felt in Morocco.
03:17The film was well received.
03:19It won a lot of awards.
03:22There were people who didn't expect its reaction.
03:28You liked the reaction of Malmö, Sweden, Los Angeles, etc.
03:35What was the feedback of the international audience?
03:40I was surprised to hear that a group of people,
03:45especially the families who came to us in Italy,
03:48Rome, and America,
03:51told us that what they talked about in the film
03:56had something to do with what they lived for two days.
03:59I didn't understand what they were saying.
04:03I thought they were talking about the film,
04:05especially a group of Moroccans from that region.
04:08Were they talking in Italian?
04:10Yes.
04:11What I understood was the problems,
04:14the conditions in which the children live in the film,
04:17in which Touda lives,
04:20and the words that are used in the film.
04:25When they read the subtitles,
04:27they understand that they have to do with the struggles of men today.
04:31Because when they read a lot of articles
04:34about feminist issues in the United States,
04:38they see that these women are fighters, warriors.
04:43Strong and resistant.
04:44Strong.
04:45What I liked about the film was that the public's reaction
04:48was always the same all over the world.
04:51A woman in Ghana told me,
04:53I don't want to forget what she said,
04:55she said,
04:56In the end, we are all Toudas.
04:58Touda is not only a sheikh in the film,
05:00she is a woman,
05:02and anyone who sees her,
05:04has a part in the film.
05:06That's what's beautiful about Touda.
05:08In Touda's role,
05:10she represents the mothers who raised their children,
05:14the children who have difficulties.
05:16In the film,
05:18one of her characters says something important and wonderful
05:21that she wanted him to read,
05:22because she didn't want him to read.
05:24The story is about a woman who travels to the cities
05:27to read to her son.
05:29Her son has a disability,
05:31so through this story,
05:33there are a lot of Toudas
05:36who suffer with their children.
05:39You worked a lot on this film,
05:43a year and a half or more?
05:45A year and a half,
05:47between preparation and shooting.
05:49There were a lot of stages,
05:51with a lot of sheikhs.
05:53I was the third one,
05:55who was in charge of the preparation.
05:57Khadija Al-Bouda, may God have mercy on her,
05:59started with the preparation,
06:01during the preparation,
06:03and after that,
06:05I went to Sfiha,
06:07and after a month or so,
06:09I met Nabil.
06:11I went back to Gaza,
06:13to continue with the preparation.
06:15In the film,
06:17Nabil,
06:19there are a lot of songs,
06:21and Nisreen's voice is beautiful.
06:23But in some scenes,
06:25there was a voice dubbing.
06:27Did you use artificial intelligence,
06:29mixed with Nisreen's voice?
06:31We used artificial intelligence,
06:33very briefly.
06:35We tried.
06:37Sorry, sorry.
06:39We tried in the studio,
06:41the voice before the film,
06:43to reach Nisreen's voice.
06:45Because Ayod,
06:47as you know,
06:49is a singer who asks for something,
06:51in order to reach a level,
06:53similar to what
06:55Houda Nashta did in the premiere.
06:57It was very beautiful,
06:59but it means that Ayod
07:01has been training for years.
07:03So we told Nisreen,
07:05there is a part of the songs,
07:07that she can sing,
07:09and there is another part,
07:11on which she can't.
07:13Exactly.
07:15She has to have a specific voice,
07:17so we asked her to sing a part of the song,
07:19and she did it.
07:21She was like a music teacher.
07:23So we told Nisreen,
07:25there is a part of the song,
07:27that she can sing,
07:29and another part,
07:31on which she can't.
07:33So we told her,
07:35that she has to have a specific voice.
07:37That's what Nisreen said a lot.
07:39A lot.
07:41She didn't want to add anything.
07:43Maybe we agree that Nisreen
07:45doesn't have any flaws.
07:47Fortunately, she has flaws.
07:51Fortunately,
07:53she has wonderful flaws.
07:57She has a personality,
07:59that I like a lot,
08:01because Nisreen has no concessions.
08:07It's this kind of personality,
08:09that I like a lot.
08:11That's why we did the shooting
08:13and the editing,
08:15it was very good.
08:17As a director,
08:19you want your character
08:21to have a personality.
08:23An actor needs this.
08:25He needs to understand,
08:27to listen,
08:29and at the same time,
08:31to be in front of you,
08:33a face-to-face.
08:35He comes to you,
08:37he tells you something,
08:39and you say,
08:41and he supports his idea.
08:43Nisreen is a hard worker,
08:45but she is a rebel.
08:47A rebel, a rebel.
08:49That's right.
08:51That's what we want.
08:53That's what we want.
08:55That's the rebellion we want.
08:57Yes.
08:59Believe me, Nisreen.
09:03I know what it is.
09:05It's the story of a rebel.
09:07It's the story of a woman
09:09who defends her child.
09:11It's the story of a social uprising,
09:13of someone who fights
09:15against Obed,
09:17Doro, Fouadek, Shikoushi.
09:19So, the rebellion is a hard work.
09:23And when you are not with a director,
09:25the director who makes you
09:27fight with him,
09:29and defend your ideas,
09:31he needs to be in front of you.
09:33He needs to know what he is doing.
09:35He can make you feel free
09:37to go on the set
09:39and defend your character.
09:41Thank you, Nabil.
09:51Nabil, why Touda?
09:53Her name is Zouina.
09:55Zouina, yes.
09:57Her name comes from Algeria,
09:59where they say
10:01that one of Touda's essence
10:03is life.
10:05And there are some attributes
10:07of Touda's name,
10:09like the character of Nisrine.
10:11It's international.
10:13It's the name of the film.
10:15That's it.
10:17Nisrine, in the film,
10:19in Touda's character,
10:21she has straight hair,
10:23and curly hair.
10:25Was it on purpose?
10:27The director who made Nabil
10:29prepared the character
10:31every morning,
10:33because he already has
10:35a preconceived notion
10:37of the character,
10:39and he knows
10:41how to go step by step
10:43in the whole film.
10:45I respect Nabil for that.
10:47He doesn't add anything
10:49and everything is done by him.
10:51He works on the details
10:53of the film and his character.
10:55Perfectionist.
10:57It's true that we don't like details.
10:59Nabil, wasn't it difficult
11:01for you to translate
11:03Aïta's texts?
11:05Because our level
11:07is difficult.
11:09And Aïta's specialists
11:11tell you that it's difficult
11:13to convey these words
11:15in French,
11:17or in English,
11:19or even in the film.
11:21In some scenes,
11:23the voice is not heard.
11:25And when you say,
11:27Ouled Ami is the son
11:29of my tribe.
11:31How do you translate that?
11:33Ouled Ami is a cousin.
11:35A cousin.
11:37That's it.
11:39Because before,
11:41we lived in a tribe,
11:43so it's difficult
11:45to translate Ouled Ami.
11:47Ouled Ami doesn't mean only Ouled Ami,
11:49but many other things.
11:51But the choice
11:53to subtitle
11:55Aïta's songs
11:57or Aïta's songs
11:59is a voluntary choice.
12:01Because we can't
12:03subtitle all the songs
12:05we want to.
12:07But these songs have a meaning.
12:09Like Aïta's songs,
12:11or other songs.
12:13It's true that
12:15it's impossible
12:17to translate Aïta's songs.
12:19Nisrine, what role does
12:21your mother play in your life?
12:23What a question!
12:25Nisrine,
12:27in the name of God.
12:29Hello, how are you?
12:31Hello, how are you?
12:33Honestly,
12:35I've been thinking a lot about this.
12:37Since Adam.
12:39At first,
12:41I had this idea,
12:43but when I heard
12:45Everybody Loves Tudor,
12:47I started thinking about it.
12:49Knowing that Tudor's role
12:51is the main character.
12:53Yes, when Nabil and I
12:55went on a trip,
12:57I told him that
12:59I didn't want to play this role.
13:01He said, it's normal,
13:03you have a lot of dialogues.
13:05And Tudor is not a character.
13:07We had a lot of dialogues.
13:09We can't go back to everything
13:11so we don't burn the film.
13:13But the shot with your son
13:15in the film is impressive,
13:17powerful and powerful.
13:19It's a very good film.
13:21Thank you Nabil.
13:23I hope you like it.
13:25Yes, yes.
13:27Nabil,
13:29why is the majority of the scenes
13:31shot at night?
13:33There is a night,
13:35but it's true that
13:37we are interested in the nightlife
13:39of the house.
13:41The place where we sleep,
13:43the cabarets, the bars.
13:45It's true that it's an underground house.
13:47Ok, the places where you shot,
13:49the cities where you shot,
13:51beautiful cities, beautiful places.
13:53What about the atlas?
13:55Azilal, in the region of Azilal.
13:57Ok, so even the location
13:59had an important role.
14:01It's called Gemmaz.
14:03Localization.
14:05We were in the car,
14:07it was snowing,
14:09and Nabil didn't want to
14:11shoot anything special.
14:13I was crying and telling him
14:15that I was scared.
14:17He told me to get in the car with him
14:19so that he wouldn't be scared.
14:21He got in the car with you?
14:23Yes, and when he fell asleep,
14:25I told him that I didn't want him to die.
14:27Tell us about Nabil,
14:29what did he learn?
14:31He learned a lot of things.
14:33He learned how to dive with the sheikhs,
14:35how to prepare, how to write.
14:37He learned a lot of things,
14:39and this is the dedication in the film.
14:41Nabil is my uncle.
14:43Nabil is my uncle.
14:45Nabil, do you need a microphone?
14:47No, thank you.
14:49We can't hear you.
14:51We can't hear you.
14:53We can't hear you.
14:55Stay with us, Nabil and Nisreen.
14:57We are with you.
14:59Hello.
15:01What do you do
15:03in the early morning?
15:05What do you do in the early morning?
15:07What do you do in the early morning?
15:09What do you do in the early morning?
15:11Daily?
15:13Daily.
15:15I don't do anything in the morning.
15:17I don't do anything in the morning.
15:19Discipline? Routine?
15:21No, he doesn't have any.
15:23He doesn't have any.
15:25What do you do in the morning?
15:27Do you want to talk about it?
15:29I have to talk about my psyche first.
15:31I'm going to sleep.
15:33Are you okay?
15:35I can't sleep.
15:37I'm tired.
15:39You should be.
15:41And you are excited.
15:43Yes, that's right.
15:45As soon as you wake up,
15:47you're so excited.
15:49I'm so excited.
15:51I'm so excited.
15:53I've been working a lot.
15:55I'm so excited.
15:57I've been working a lot.
15:59I've been working a lot.
16:01I've been working a lot.
16:03I'm so happy.
16:05Why do you laugh so much?
16:07Sometimes, in the middle of a shoot, you laugh and show that you're used to it.
16:12It's a job.
16:13Yes, it's a job.
16:14No, no, I don't laugh.
16:15It's a very big profession.
16:16But without Aziz Elad laughing.
16:18Yes, but really, what impresses me in Anisline is between the cut and the cut,
16:23or between one take and another take,
16:25sometimes takes with a rare intensity,
16:28where you hear in the hallway, there's a mood in the laughter,
16:31or you look at the set and you say,
16:33action, and it's in the role.
16:36Yes.
16:37And that's incredible.
16:38I concentrate on the laughter.
16:39Bravo.
16:40There are actors who don't know how to work,
16:42but I'm not one of those actors who has to concentrate,
16:46or look at the set, and so on.
16:48I have to concentrate.
16:50You have to move.
16:51I'm inspired by people, by life, by a lot of different things.
16:55Yes, that's true.
16:56Because I've seen a lot of actors,
16:58they play with Anisline,
17:00or between one take and another, they're like that.
17:03They look at the set.
17:06And they laugh.
17:07That's the technique of life.
17:09And they get into it.
17:12You have to stabilize them.
17:14No, I'm like that with you.
17:16We know you laugh a lot.
17:19That's a memory of mine.
17:21I'm going to read a sentence from the ad.
17:24We're hungry.
17:25Okay.
17:26What do you miss the most?
17:29You're one of them.
17:32Me?
17:34I like people like you.
17:36I'm not at work.
17:38I didn't hear you say that.
17:40No, no.
17:41I was saying something normal.
17:43You were angry, you were angry.
17:45I was angry, but I didn't want to laugh.
17:47I was angry and I laughed at the same time.
17:49Proud.
17:50Nabil is always angry.
17:52He's always cold.
17:54He's democratic in life.
17:56He wakes up at 6 in the morning.
17:58He wakes up at 6 in the morning.
18:00Yoga.
18:01Nabil or Nisrine,
18:03why did you do a bad thing during a shoot?
18:07During a shoot? No.
18:09During a shoot.
18:11No, not during a shoot.
18:12I did a bad thing.
18:14It wasn't a bad thing.
18:15We were in the water.
18:17Nisrine didn't want to go into the water.
18:19She was afraid of sharks.
18:21And I was wearing jeans and a t-shirt.
18:25At one point, I went into the water.
18:28I was wearing jeans and a t-shirt.
18:30I was afraid of sharks.
18:32And I was wearing jeans and a t-shirt.
18:34Did you have an accident during a shoot?
18:37Yes, I had an accident.
18:39We were locked in a house.
18:41We had to go to Rabat and come back to Marrakech.
18:44Yes, it was a very difficult accident.
18:46I took his insurance.
18:48Since 2015.
18:50Since 2015?
18:51Since now.
18:52Do you want to stay in Cairo?
18:54No, I don't want to stay in Cairo.
18:57What did you do when you went to the festival?
19:07I went to the festival.
19:09I saw Nisrine.
19:14I said, Nisrine, I saw you.
19:16I said, Nisrine, I saw you.
19:18You knew me and I knew you.
19:20You knew me and I knew you.
19:22Everyone survived.
19:24Everyone survived.
19:25Honestly, I sang in Marrakech.
19:27Honestly, I sang in Marrakech.
19:29I didn't see anyone.
19:31This is important.
19:33This is a bit difficult.
19:35This is a bit difficult.
19:37You know me.
19:39Thank you, Nabil and Nisrine.
19:41Thank you, Nabil and Nisrine.
19:47I am guilty.
19:49I am guilty.
19:51I am guilty.
19:53You are guilty.
19:55No, I am not guilty.
19:57You are guilty.
19:59You are guilty.
20:01Now, Nabil, what do you think?
20:05Now, what is the problem?
20:07Now, what is the problem?
20:09First, I want to say a few words about Mounaim Koubaba.
20:11First, I want to say a few words about Mounaim Koubaba.
20:13He is like a Cretan dog.
20:15He is like a Cretan dog.
20:17He is like a Cretan dog.
20:19I won't forget Mounaim.
20:21I told the chief of the court that I needed a tomb with a foreground.
20:26I told him, what's the meaning of this name?
20:28He said, it's a name that doesn't have a meaning.
20:31I said, what's the meaning of this name?
20:33He said, if you write this name, it will become famous and people will know why.
20:38I said, look, this is my name.
20:40I was like this, why are you laughing at me?
20:43The problem is where it is, it is in the dead bodies.
20:48And you chose 2004.
20:50Yes, I went to the date of the death test.
20:54Really?
20:55Yes, I went to the date of the death test.
20:57I told him, I died, so I told him...
20:59So you can stay until 2004?
21:019 May 1964.
21:03So you can stay until 2004?
21:05Yes, until 1995.
21:07No, no, not until 2004.
21:09You can stay until 2004.
21:11Don't laugh at me.
21:13He missed the date.
21:15You are superstitious.
21:17Superstitious?
21:19No, I am not superstitious.
21:21I remember because I don't have a good memory.
21:23So, see you on May 9th, 2064.
21:25See you.
21:27No problem.
21:29After a long time.
21:31No problem, there is no wood in Nantes.
21:33Only metal.
21:35Nabil.
21:37Nabil.
21:39Yes.
21:41You can say anything you want.
21:43Anything you want, I am here.
21:46Hello, La Prode.
21:48Les Oscars.
21:50Are you going to tell us
21:52which movie will be with you?
21:54Yes.
21:56Will it be in the shortlist?
21:58Yes, because
22:00what's new this year
22:02is that the movie, for the first time,
22:04a Moroccan movie, a regional movie,
22:06I think, was selected
22:08in the Camelines category.
22:10That's new.
22:12I hope next year or the following years
22:14other Moroccan movies will be selected.
22:16Les Oscars,
22:18in reality, is a lottery
22:20because there are voters,
22:222,000 or 3,000 voters worldwide.
22:24It's complicated.
22:26They ask for a lot of opportunities
22:28to do something,
22:30they ask for marketing, lobbying,
22:32and so on.
22:34We will see.
22:36We will see Nabil Ayoush competing
22:38to be the best director in Les Oscars.
22:40We will see.
22:43The nomination is mine.
22:45But if the movie
22:47is in the category
22:49of a foreign movie
22:51in the Oscars,
22:53I would like you to win it.
22:55Thank you, Oussama.
22:57You don't know.
23:01Oussama is a friend.
23:03We started
23:05a long time ago.
23:07I'm proud of you, Nisrine.
23:09Thank you, Oussama.
23:11What are your projects?
23:13I can't tell you, Nabil.
23:19I recently filmed
23:21Farzad Samsami,
23:23an Iranian-Norwegian director.
23:25We filmed in Morocco.
23:27The Moroccan story
23:29and the Moroccan actors.
23:31Can you name 2 or 3 actors?
23:33Amine Nagy and Younes Bouab.
23:35Amine Nagy was in the movie.
23:37By the way, Nabil,
23:39what did you tell them?
23:41Because we see that
23:43your actors
23:45come back in other movies.
23:47We saw Nisrine in Adam after Tudor.
23:49Amine Nagy in Razia
23:51was in Tudor.
23:53Which one of them comes back?
23:55I'm one of their actors.
24:01Amine Nagy was in Zinelefik.
24:03Razia.
24:06Amine Nagy was in Tudor.
24:08Abdullah Rashid was in Khayrullah.
24:10He was in Razia and Tudor.
24:12Abdullah Rashid was Nabil's actor.
24:14Yes.
24:16His first role was in Khayrullah.
24:18Did you sign a contract with them?
24:20No, it was a contract.
24:22A contract to buy the movies.
24:26No, I didn't sign a contract with my actors.
24:28I signed a contract with my family.
24:30Because cinema builds a family
24:32over time.
24:34You meet people you know
24:36and when a new movie comes out
24:38you write a role
24:40and you think about them.
24:42Did you shoot the next movie, Nabil?
24:44Or did you write it?
24:46I'm still working on it.
24:48I'm going to Paris
24:50to direct
24:52Everybody Loves Tudor
24:54with Nisrine.
24:56Just kidding.
25:00After that,
25:03I'm going to my wife's house
25:05to watch the movie Laftanja.
25:07I'm going to sit with her
25:09and think about my future.
25:11But I have a project already.
25:13Okay.
25:15No filming?
25:17No.
25:21Good luck to you, Nisrine.
25:23Thank you, Mr. Dafa.
25:25Nice to meet you.
25:27Nice to meet you.
25:29I'll give you 10%.
25:33Thank you, Nabil.
25:35It's always a pleasure to be with you
25:37in any interview.
25:39It's nice to share a set with you
25:41just like I shared it with Everybody Loves Tudor.
25:43Any last words, Nabil?
25:45I'm not going to forget you
25:47for the next 12 years.
25:49It was a great experience.
25:51Nabil is one of the most important directors
25:53I've worked with so far.
25:55Good luck to you, Osama.
25:59The movie is currently in cinemas
26:01in France.
26:03Good luck with the Oscars.
26:05How do you say Oscars?
26:07In Greek.
26:09It was a great episode.
26:11Thank you, Nabil.
26:13Thank you, Nisrine.
26:15Big shout-out to the technical and artistic team.
26:17Those of you who watch us every day
26:19and every night, write a patchwork
26:21and interact with our programs.
26:23Good luck.
26:25Patchwork.
26:31Patchwork.