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!
01:53Everybody loves Judah!
02:00I don't want money. I want to be a good sheikh.
02:03Allah Allah! Allah Allah!
02:14Everybody loves Judah!
02:16The 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 again.
02:26How are you?
02:27I'm fine.
02:28Welcome Nabil.
02:29We also have with us the heroine of this film, the great actress Nisreen Rady.
02:34Hello.
02:35Hello and welcome.
02:37How are you?
02:38I'm fine.
02:39Welcome.
02:40Nisreen, how was the festival in Morocco?
02:42It was great.
02:44It was the first projection in Morocco.
02:47Nabil and I were very happy.
02:49The whole team of the film liked the reaction of the audience.
02:52We were looking forward to this episode.
02:55What was the feedback of the audience in Morocco, Nabil?
02:58We got a lot of positive feedback.
03:00We wanted to sit with the audience in the theater.
03:03As Nisreen said, we were looking forward to this projection.
03:06It's not a good situation, but it's possible.
03:08It's been five years since the release of the film.
03:11The film has been seen all over the world.
03:13But what we felt in Morocco, we didn't feel in Morocco.
03:17The film was well received.
03:19The film already won a lot of awards.
03:22Some people didn't expect the reaction of the audience.
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 lot of people,
03:45especially the Italian, Roman and American families,
03:50told us that what they talked about in the film
03:55had something to do with their daily lives.
03:59I didn't understand.
04:01I didn't meet the sheikhs and the ayatollahs.
04:03I didn't know what they were talking about in the film,
04:05especially a Moroccan group.
04:08Did the Italians have sheikhs?
04:10What I understood was the problems,
04:14the conditions of the families in the film,
04:17the conditions of the families in the film,
04:20and the ayatollahs' words in the film.
04:25When you read the subtitles,
04:27you understand that they have something to do with the struggles of men today.
04:31Because there is a lot of information about feminist issues in the United States.
04:38These sheikhs are women,
04:41fighting women, warriors.
04:43Strong resistance.
04:45What I liked about the film
04:47is that the public's reaction is always the same all over the world.
04:51A woman in Ghana told me,
04:53I don't want to forget what she said,
04:55that in the end, we are all Touda.
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 of her in the film.
05:06This is what is beautiful about Touda.
05:08In Touda's role,
05:10as you said,
05:12the mothers who raised their children,
05:14the children who have difficulties,
05:16and in the film,
05:18one of her characters says something important and wonderful,
05:21that she wanted him to read.
05:22She didn't want him to read.
05:24And the soldiers who died,
05:26didn't want her son to read,
05:28except that your son in the film has a disability.
05:31So, through this story,
05:33of course, there are a lot of Toudas,
05:36who are suffering,
05:38with their children.
05:40You worked a lot on this work,
05:42on this film,
05:44a year and a half, or more?
05:46A year and a half,
05:48between the preparation and the shooting.
05:50There were a lot of stages,
05:52with a lot of sheikhs.
05:54Three of them,
05:56marked my preparation.
05:58Khadija Al-Bedawi, may God have mercy on her,
06:00started with the preparation,
06:02during the preparation,
06:04and after that,
06:06Nabil started.
06:08You and the sheikhs, Khadija.
06:10Of course.
06:12I went back to Gaza,
06:14to continue with the preparation.
06:16In the film, Nabil,
06:18there are a lot of songs,
06:20songs of the Nisrine,
06:22and the voice of the Nisrine.
06:24But in some parts,
06:26there was a voice dubbing.
06:28Did you use artificial intelligence,
06:30mixed with the voice of the Nisrine?
06:32We used intelligence,
06:34because we tried,
06:36sorry, sorry,
06:38we tried in the studio,
06:40the voice,
06:42before the film,
06:44to reach the voice of the Nisrine.
06:46Because, as you know,
06:48the Ayyad,
06:50when he asks for something in the voice,
06:52to reach a level,
06:54like what Ahmed Houda did
06:56in the premiere,
06:58it was very beautiful,
07:00but it means that the Ayyad,
07:02the voice of the Nisrine,
07:04is a part of the songs,
07:06that you can sing,
07:08and there is another part,
07:10on which...
07:12Exactly, because the voice of the sheikh
07:14needs a certain level,
07:16and that level,
07:18either you have it,
07:20or you don't.
07:22I used to sing a little,
07:24I worked on my voice,
07:26but when Nabil came to me,
07:28the music teacher,
07:30and I told him,
07:32I'm with you,
07:34even the schedule,
07:36I prepared it,
07:38and I lost all hope,
07:40and I said,
07:42I don't want to sing Ayyad.
07:44But that's it,
07:46Nisrine said a lot.
07:48I learned a lot.
07:50Nabil, we agree that
07:52Nisrine has no flaws.
07:54She has flaws, fortunately.
07:56I wanted to defend you,
07:58Nisrine has a very beautiful personality,
08:00because Nisrine has no flaws.
08:02She doesn't want to say anything,
08:04but she doesn't want to say it.
08:06It's this kind of personality,
08:08that we want in a director.
08:10That's why our relationship
08:12in this shooting,
08:14is very strong.
08:16Nabil, as a director,
08:18do you want your character
08:20to have a personality?
08:22The director
08:24asks for this,
08:26but at the same time,
08:28he understands,
08:30he listens,
08:32and at the same time,
08:34he is in front of you.
08:36He comes to you,
08:38he tells you something,
08:40and you say,
08:42Nabil wants me to defend his idea.
08:44Nisrine, as we know,
08:46is a hard worker,
08:48but a bit of a rebel.
08:50That's right,
08:52our friend Nabil.
08:54Nabil is a rebel,
08:56but Nisrine is a hard worker.
09:00Believe me, Nisrine.
09:02I know what you mean.
09:04It's the story of a rebel,
09:06it's the story of a woman
09:08who fights,
09:10who defends her race,
09:12who defends her children.
09:14It's the story of a social elevation,
09:16of someone who fights against
09:18difficulties,
09:20so Bouda is a hard worker.
09:22And when you are not with a director,
09:24the director who makes you fight
09:26and defend your ideas,
09:28you need to be with Nabil Ayouj,
09:30you need to trust him,
09:32you need to know what he is doing.
09:34He can give you the freedom
09:36to rebel against him on the set
09:38and defend his character.
09:40Congratulations, Nabil.
09:46You can go now.
09:48We are in the middle of a conversation.
09:50Nabil, why Touda?
09:52It's a beautiful name.
09:54Yes, it's a beautiful name.
09:56In Algeria,
09:58they say that
10:00one of the meanings of Touda
10:02is life.
10:04And there are attributes
10:06of the name Touda
10:08that come from the character
10:10of Nisrine.
10:12And honestly,
10:14it's the name of the film.
10:16Nisrine was in the film
10:18with smooth hair
10:20and curly hair.
10:22Yes.
10:24Was it done on purpose?
10:26Yes, the director wanted
10:28Nabil to prepare
10:30the character every morning
10:32to see what Nisrine is doing.
10:34But this curly hair
10:36already has his image
10:38of the character.
10:40And he sees how it goes
10:42step by step in the film.
10:44And I respect Nabil a lot for this.
10:46Because he doesn't do anything stupid.
10:48Everything he does
10:50is based on the details
10:52of the film and the character.
10:54Perfectionist.
10:56It's true that we don't care about the details.
10:58We don't listen to the details.
11:00Nabil, wasn't it difficult
11:02to translate Aïta's texts?
11:04Because
11:06we are at a difficult level.
11:10And Aïta's specialists
11:12say that it's difficult
11:14to translate French,
11:18English,
11:20or even in the film.
11:22In some scenes,
11:24the voice doesn't come out.
11:26And when you say,
11:28my cousin, my cousin,
11:30you translate like a son of a tribe.
11:32And how do you translate?
11:34Cousin, cousin.
11:36Cousin, cousin.
11:38That's right.
11:40Because before,
11:42we were living in a tribe.
11:44So it's difficult to translate
11:46my cousin's text.
11:48You didn't just translate my cousin's text,
11:50but a lot of other people's.
11:52But the choice to subtitle
11:54one of the songs
11:56or another,
11:58it's a really voluntary choice.
12:00Because you can't
12:02subtitle all the songs
12:04if you don't want to.
12:06But these songs have a meaning.
12:08Like Aïta's songs,
12:10or other songs,
12:12you can't subtitle them.
12:14Now it's true that Aïta
12:16can't translate.
12:18Nisrine, what role does
12:20motherhood play in your life?
12:24That's a good question.
12:26Nisrine, in the name of God.
12:30Hello, how are you?
12:32Hello, how are you?
12:34Honestly, what do you think
12:36about this issue?
12:38Honestly, I've always
12:40thought about it.
12:42But in
12:44Everybody Loves Souda,
12:46I didn't think much about it.
12:48Knowing that Souda's role
12:50is still with you,
12:52you decided to leave the show.
12:54Yes, I told Nabil
12:56when we were traveling abroad,
12:58that I don't want the character
13:00to leave me.
13:02I told him it's normal to talk
13:04a lot with Souda,
13:06we're really close.
13:08We can't do everything
13:10to not burn the film,
13:12but the shot with your son
13:14in the film is impressive,
13:16powerful, and great.
13:18It's a very good film.
13:20Nabil, thank you.
13:22I hope you like it.
13:24It's great.
13:28Nabil, why is the majority
13:30of the scenes shot at night?
13:32There is a night,
13:34but it's true that most of the scenes
13:36are shot at night.
13:38We're interested in the nightlife
13:40of the house,
13:42the places where we sleep,
13:44the cabarets, the bars.
13:46It's a bit of an underground house.
13:48The places and cities
13:50you shot are beautiful.
13:52What about the atlas?
13:54It's an island.
13:56In the region.
13:58So, even the location
14:00had an important role.
14:02The location.
14:06We were in the car,
14:08it was snowing,
14:10and Nabil didn't want
14:12to shoot anything.
14:14I was crying and telling him
14:16I couldn't, I was scared.
14:18He told me to get out of the car
14:20with him so he wouldn't be scared.
14:22He got out of the car with you?
14:24Yes.
14:26I told him I didn't want to die.
14:28Nabil, what did you learn
14:30from the movie?
14:32What did you learn?
14:34What did you prepare?
14:36What did you write?
14:38What did you learn?
14:40What did you do?
14:42What did you dedicate the movie to?
14:44Nabil,
14:46do you need a microphone?
14:48No, thank you.
14:50I'm not good at singing.
14:52You're from Stockholm.
14:54I'm from Camargue.
14:56Stay with us, Nabil.
14:58Stay with us.
15:00What do you do
15:02when you wake up early?
15:04What do you do when you wake up early?
15:06What do you do when you wake up early?
15:08He does it.
15:10He's guilty.
15:12You do it every day?
15:14No, I don't wake up early.
15:16I don't wake up early.
15:18Discipline?
15:20Routine?
15:22No.
15:24Do you want to talk about it?
15:26No, I don't want to talk about it.
15:28I need my psychologist first.
15:30I forgot you were here this year.
15:32I forgot you were here this year.
15:34It's okay.
15:36I can't sleep anymore.
15:38I'm tired.
15:40And I'm excited.
15:42I'm excited because
15:44I've been working a lot
15:46lately.
15:48I've been working a lot lately.
15:50I've been working a lot lately.
15:52I've been working a lot lately.
15:54When can you laugh a lot?
15:56When can you laugh a lot?
15:58When can you laugh a lot?
16:00I'm guilty.
16:02Maybe I say a sentence and then I laugh.
16:04Maybe I say a sentence and then I laugh.
16:06Maybe I say a sentence and then I laugh.
16:08When you were shooting,
16:10you had to laugh?
16:12Yes.
16:14No, no, I don't laugh.
16:16Without Aziz laughing.
16:18Yes, but
16:20What impresses me in my discipline
16:22between a shot and another shot.
16:25Sometimes shots with a rare intensity
16:28where you hear in the hallway
16:30that she is in the mood to laugh
16:32or you look at the set and you say
16:34action or action
16:36and she is in the role.
16:37That's incredible.
16:38I was concentrating on laughing.
16:40There are actors who don't know how to work
16:42but I'm not that kind of actor
16:44who needs to concentrate
16:46and see the world.
16:48I need to concentrate.
16:51You were inspired by people, by life,
16:54by a lot of things.
16:56That's true.
16:57I've seen a lot of actors
16:59who play with their emotions
17:01and between one shot and another
17:03they are like that.
17:04You see them in the wall.
17:06Yes.
17:07In the wall.
17:08The wall technique.
17:09And you say to yourself
17:11I did a good job.
17:12You need to stabilize them.
17:14A lot.
17:15No, I'm not like that.
17:16We know that you laugh a lot.
17:19He is an extraterrestrial.
17:21I will read the sentence in a good way.
17:26Do you lose a lot of energy?
17:29No.
17:30You are one of them.
17:32Me?
17:33I like people like you.
17:35I don't have a lot of energy.
17:37It's not a job.
17:38I don't hear that you lose energy.
17:40No, no.
17:41But it's normal.
17:43You get angry and you get angry.
17:45I get angry but I don't laugh.
17:47I laugh but I don't laugh.
17:49At the end.
17:50Nabil doesn't get angry.
17:52He is very calm.
17:54He is very democratic.
17:56He wakes up at 6 in the morning.
17:58He wakes up at 6 in the morning.
18:00He goes to sleep.
18:01Nabil or Nisrine,
18:03why did you make a bad scene
18:05in the middle of the shoot?
18:07In the middle of the shoot?
18:09No.
18:10In the middle of the shoot.
18:11No, not in the middle of the shoot.
18:12I made a bad scene
18:14but not a bad one.
18:15We were in the water.
18:17Nisrine didn't want to go into the water
18:19because she was afraid of sharks.
18:21I was wearing jeans and a t-shirt.
18:24At one point,
18:26I went into the water.
18:28He was wearing a white T-shirt.
18:30He said,
18:31Amsafia,
18:32don't go into the water.
18:34Did you have an accident
18:36in the middle of the shoot?
18:37Yes, I had an accident.
18:38We were trapped in a house.
18:40We were going to Rabat
18:42and we came back to Marrakech.
18:44It was a very difficult accident.
18:46I took my license.
18:48Since 2015,
18:50I've been in the water.
18:52You didn't want to stay in the water.
18:54Thank God,
18:55I didn't stay in the water.
18:56Thank God.
18:57What happened
18:58when you fell in the festival?
19:03That's what I'm talking about.
19:07I fell in the festival
19:08and I hit my left leg.
19:10I was like,
19:11what happened?
19:12What's wrong with me?
19:13I asked him,
19:14what's wrong?
19:15He said,
19:16I'm fine.
19:17I asked him,
19:18what's wrong?
19:19He said,
19:20I'm fine.
19:21He said,
19:22I'm fine.
19:23I asked him,
19:24what's wrong?
19:25He said,
19:26I'm fine.
19:27He said,
19:28I'm fine.
19:29He said,
19:30I'm fine.
19:31Everyone survived.
19:32I was singing in Marrakech.
19:33I was dancing in Marrakech.
19:34I didn't see anyone.
19:35This is a difficult one.
19:36This is a difficult one.
19:37It's a bit of a bogus.
19:38Wow.
19:39Thank you Nabil and Nisreen.
19:40Thank you Nabil and Nisreen.
19:41Thank you Nabil and Nisreen.
19:43The place where he died
19:44in the movie.
19:45in the movie.
19:46I'm guilty.
19:47Come back to us.
19:48I'm guilty.
19:49No, you're not.
19:50No, you're not.
19:51I do not know.
19:52Come to us, Alizawa.
19:53Come to us, Alizawa.
19:54I do not know.
19:55Come to us, Alizawa.
19:56Cameo.
19:57Cameo.
19:58Oh, yes.
19:59Oh, yes.
20:00Oh, yes.
20:01It's like ...
20:02No, not like.
20:03No, not like.
20:04You said that with a punch on your head.
20:05Yes.
20:06Yes.
20:07Now ...
20:08I don't want to forget Mounaim Kebab, who is like the dog of the Kuwaiti people,
20:11may he rest in peace.
20:13May he rest in peace.
20:15I don't want to forget Mounaim.
20:17When we were shooting this scene,
20:21we told the set designer that we needed a first shot.
20:26I asked him, what's the name of the dog?
20:28He said, a dog.
20:29I asked him, what's the name of the dog?
20:31He said, what's the name of this dog?
20:33He said, no, if you write this,
20:36it will be famous and people will say,
20:38look, this is my body.
20:40I was like this,
20:42why are you laughing at me?
20:44But the problem is,
20:46where are the dead bodies?
20:49And what did you choose?
20:51I said, where are the dead bodies?
20:53When will you die?
20:57I said, I won't die.
20:59So I said,
21:019th of May, 1964.
21:03You said, you will live until 1964.
21:05No, until 1995.
21:07No, not yet.
21:09You will live and die.
21:11I'm not going to die.
21:13He will die.
21:15It's superstitious.
21:17It's not superstitious.
21:19It's really a fire.
21:21I remember because there is no other way than this.
21:25So, see you on 9th of May, 2064.
21:29We will see.
21:32We will see.
21:34We will see.
21:38Nabil.
21:40The Oscars.
21:42You are bringing back the game.
21:44You have everything you want.
21:46Hello, the product.
21:48The Oscars.
21:50Soon you will announce
21:52which movie is going to be with you.
21:54What?
21:56It will be in the shortlist.
21:58Yes, I hope so.
22:00The new thing is that the film, for the first time a Moroccan film, a film from the region even, I think,
22:05has been selected in the KMLIN categories.
22:10That's new.
22:11I hope next year or the following years other Moroccan films will be selected.
22:17First, the Oscars are actually a lottery, because there are voters,
22:222,000-3,000 voters all over the world.
22:24It's complicated.
22:25It requires a lot of possibilities.
22:27It requires marketing, lobbying and other things.
22:31We have a lot of work to do.
22:33We'll see.
22:35We'll see.
22:36Nabil Ayoush is the best director in the Oscars.
22:39We'll see.
22:41He's the closest to being nominated.
22:45If the film is in the category of foreign films in the Oscars,
22:51I'd like to see it.
22:53He'll do his part.
22:55Thank you, Osama.
22:57You're welcome.
23:02Osama is a friend.
23:04We started a long time ago.
23:07I'm proud of you, Nisrine.
23:09Thank you, Osama.
23:10What are your projects?
23:14I can't tell you, Nabil.
23:17She said, do it.
23:18Nabil, trust me.
23:19I recently made a film with Farzad Samsami,
23:22an Iranian-Norwegian director.
23:25We shot it in Morocco.
23:26It's a Moroccan story.
23:27The actors are Moroccans.
23:29You shot it in Morocco?
23:30Yes, we already shot it.
23:31Can you give us a few actors?
23:33Amine Nagy and Younes Bouab.
23:35Amine Nagy was in the film.
23:37Yes.
23:38By the way, Nabil, why didn't you invite more actors?
23:42Because we see that your actors
23:45come back in other films.
23:47We saw Nisrine in Adam after Touda.
23:50Amine Nagy was in Razia and Touda.
23:53How many actors come back?
23:55I'm one of his actors.
24:01Amine Nagy was in Zinelefik.
24:03Yes.
24:04Razia.
24:05Touda.
24:07Abdelirahid.
24:08Rashid.
24:09Khairullah.
24:10Abdelirahid was in Razia and Touda.
24:12Abdelirahid was Nabil's.
24:14Yes.
24:15His first role was Khairullah.
24:17Do you have a contract with them?
24:19No.
24:20It's a contract.
24:21A contract for Nabil Ayoush's films.
24:24No, but I invite my actors and actresses
24:28and invite my family.
24:29Because cinema builds a family over time.
24:33And you meet people
24:35with whom you go a long way.
24:38When a new film comes out,
24:40I write a script and think about them.
24:43Have you shot the next film, Nabil?
24:46Or have you written it?
24:48Not yet.
24:49I'm going to Paris next year
24:52to direct Everybody Loves Touda with Nisrine.
24:56Just kidding.
25:00And then I'm going to my wife's place
25:04to shoot the next film in Tangier.
25:07We'll sit together and think about the future.
25:12But I already have a project.
25:14Okay.
25:15Without filming you?
25:16No.
25:18Good luck to you.
25:19Good luck to Mariem Chouzaini.
25:21Good luck to Nisrine.
25:22Any last words?
25:23Thank you, Mr. Dafa.
25:24Welcome.
25:25It's great to be with you for the first time.
25:27Welcome.
25:28I wish you all the best.
25:29We'll give you 10%.
25:32Thank you, Nabil.
25:34It's always a pleasure to be with you
25:36in any interview or conversation.
25:38It's great to share a set with you
25:40just like you shared the set with me
25:42for Everybody Loves Touda.
25:43Any last words, Nabil?
25:45I'm not going to forget you for the next 12 years.
25:47Thank you, Nabil.
25:48It's a great experience.
25:50Nabil is one of the most important directors
25:53I've worked with so far.
25:55Good luck.
25:57Good luck with the film.
25:58The film is currently in cinemas
26:00in Morocco and France.
26:02Good luck with the Oscars.
26:04We've reached the end.
26:05How do you say Oscars in Arabic?
26:07In Arabic.
26:09It was a great episode.
26:11Thank you, Nabil.
26:13Thank you, Nisrine.
26:14Big shout-out to the technical and artistic team.
26:17Those of you who watch us every day,
26:19every night,
26:20write a patchwork and interact with us.
26:22I wish you all the best.
26:24And now, patchwork.
26:28Patchwork.
26:29Patchwork.