مدي 1 تي في : المنتج والمخرج أحمد بوعروة - 11/01/2025
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00:00In art, you can speak without using words, so the artist is essentially a creator, and
00:25the creators are those who see what others do not see, and this is manifested through
00:31the value and quality of dramatic work, especially television, which presents a new vision
00:37of everyday life, and starting from this and that, it is assumed that these visual productions
00:45will be a platform for innovation and creativity, to improve our behavior and lifestyle according
00:53to the values and principles of humanity that we are in dire need of.
00:59Welcome.
01:23Thank you, thank you, thank you, thank you, thank you, thank you, thank you, thank you.
01:53As you know, television work is one of the most effective means of entertainment in
02:02societies, and it is not only a means of entertainment, but it is an important tool for positive
02:12changes in behavior and lifestyle.
02:15Therefore, the choice of television works is not an easy process, as it requires production
02:21and a deep reflection on the number of factors and tools that will guarantee the success of the project.
02:29Today, we are happy to have with us a manufacturer,
02:32in fact, an engineer for many television projects,
02:36who accompanies our daily life on television screens.
02:39He is a producer, director, screenwriter, and a journalist as well.
02:45Welcome, Ahmed Bouaroua.
02:51In the name of God, the Most Gracious, the Most Merciful.
02:54First of all, my greetings to you, Mr. Houssam, and my greetings to you, Mr. Ahmed El-Dafri.
02:58On behalf of the management team, which is led by the beautiful director, Mr. Afifi,
03:04and on behalf of all the viewers of the show,
03:08the Kingdom of Innovation, which was able to succeed in a short time,
03:12for its credibility, seriousness, and the choice of distinguished guests.
03:17Welcome again, Mr. Ahmed.
03:23As usual, our viewers will enrich the discussion.
03:29The consultant of the show, Dr. Ahmed El-Dafri.
03:32Welcome, Mr. Ahmed.
03:33Thank you, Mr. Houssam.
03:35Welcome.
03:37I will start with you, our dear guest.
03:41We always talk about television productions, of course, from many artistic aspects,
03:47such as directing, acting, or even the musical cover, etc.
03:52But it is rare to focus on the topic of production.
03:57I mean, when you produced a number of TV works,
04:02between TV shows and musical works,
04:06I mean, it would be great if you could bring us closer to this task,
04:11the task of production.
04:13First of all, Mr. Houssam, I bow to you.
04:17I mean, I entered this field of production, not by chance.
04:20I don't feel that I am a producer of a film,
04:25but I feel that I have a creative vision.
04:31I mean, I enjoy participating in the whole creative process.
04:37This doesn't prevent me from giving an idea about production,
04:41from the beginning to the end.
04:43I mean, from the idea.
04:45I mean, we come up with ideas,
04:47we come up with scenarios that we present to the channels or the film centers,
04:53we discuss them, and then we agree,
04:55I mean, we enter the production process.
04:58Mr. Ahmadi, without a successful production,
05:01there wouldn't be a successful work.
05:03What do you think?
05:04We are honest producers.
05:06What moves us is honesty.
05:09I mean, the producers,
05:12from what you wrote about the scenarist and the director,
05:16I mean, they bring together a strong intellectual background,
05:20and this is what makes the work successful.
05:22I mean, the producer who doesn't believe in what he does,
05:27we bring in the work that we believe in,
05:30especially the producer who believes in the scenarist.
05:34Especially, I believe,
05:36because locally, this is what we care about,
05:39that we reach the audience.
05:41I mean, we know what the audience wants.
05:45This is what we want to present to them,
05:47so that they get that excitement, that pleasure,
05:50that we present to them,
05:51either through the show or through a TV series.
05:54I mean, the closer the work is to the audience,
05:57the more they understand it,
05:58and the more they love it and follow it.
06:00The Moroccan wants to see his daily life on TV,
06:03he wants to see his background,
06:04he wants to see his identity,
06:05he wants to see his style, his language,
06:08and through our works,
06:10we always meet Moroccans,
06:13and local Moroccans.
06:14The product, Mr. Ahmadi,
06:17is the main element in any creative project.
06:21What do you think?
06:22That's right.
06:23That's why, for me,
06:25the word, I think,
06:27that we need to go beyond now,
06:30is the word boring, boring,
06:32as it is called.
06:34I think this word
06:36is getting smaller and smaller.
06:39It doesn't have any consideration.
06:41Why?
06:42Because now, the producer
06:44has a vision as well,
06:45and he has the ability to choose the paths
06:48that he needs to go towards.
06:51He has a technical and artistic vision,
06:54and he has the ability,
06:55in addition to what he can achieve from profit,
06:58or what he can do from services
07:00at the production level.
07:02So, it is necessary to be creative as well,
07:05because many names can be made by him.
07:09He is the one who contracts with the producers.
07:11He is the one who contracts with the actors,
07:14and with the technicians.
07:16He may discover new actors.
07:18He may discover some names.
07:20And this is not only in Morocco,
07:22but in other parts of the world.
07:24Even in the United States,
07:26in Hollywood,
07:27he is the one who can make stars.
07:29So, he is the one who supervises
07:31every big and small thing,
07:33and prepares the aesthetic space
07:36and the mood
07:38for all the workers
07:40so that they can be creative.
07:42Now, in Morocco,
07:44we are witnessing a revolution
07:46at the level of Moroccan drama.
07:49And there are works
07:51that are very convincing,
07:53whether in the national TV company,
07:56or in the Dozan channel,
07:58and so on.
08:00So, this revolution,
08:02and this ability to create,
08:05has now become a Moroccan tradition
08:08to accept these successful productions.
08:11This means that the producer
08:13was able to play an active role
08:16in this field.
08:18Does the producer play a major role
08:20in choosing and determining
08:22the scenario, Mr. Ahmed?
08:24I mean, is he the one who chooses the scenario?
08:27If there is no problem,
08:29because if there is a problem,
08:31he always changes the scenario
08:33that the audience wants.
08:35He wants this kind of scenarios,
08:37and he goes for the quick profit.
08:39We don't have this concern.
08:41This channel is always
08:43about honest works,
08:45works in which there is effort,
08:47in which there is research.
08:49We have a bank of projects
08:51that we work on,
08:53ideas that we have been working on
08:55for 30 years.
08:57We write for the theater,
08:59for television,
09:01and we choose the scenarios
09:03that we have.
09:05We know the story we want,
09:07we know the characters,
09:09we know how to write them,
09:11we even know the actors
09:13who will answer with us,
09:15and we know how to write
09:17a number of scenarios.
09:19Maybe this makes it easier
09:21for me to become a screenwriter
09:23and a scriptwriter,
09:25and I can do this task.
09:27I know him,
09:29according to the information
09:31I have about him,
09:33is that he entered
09:35the field of television
09:37from the gate of the theater,
09:39because he was an actor
09:41in the university theater
09:43when he was practicing
09:45this work.
09:47Then from the gate of the media,
09:49because he was a journalist
09:51who wrote in the paper
09:53newspaper for years.
09:55Also,
09:57this is a question
09:59that I can always ask him,
10:01is this transition to the field
10:03of television.
10:05Did television come by chance,
10:07or did you have in your mind
10:09things, dreams, and ambitions
10:11Mr. Ahmed,
10:13my love for television
10:15started when I was 6 or 7 years old.
10:17In 1969,
10:19I was going to school
10:21because I lived
10:23near Ain Shouk station.
10:25We were going out
10:27to the door of the station
10:29and we would see the actors
10:31entering the theater.
10:33We had a television
10:35that started at 6.30 pm.
10:37I would say,
10:39the actors are entering the theater
10:41at 4 or 5 pm.
10:43The television was a screen.
10:45The grey image
10:47made me create
10:49imaginary stories.
10:51The television started at 6.30 pm.
10:53What is a dream?
10:55When I grew up,
10:57I loved children's programs.
10:59I grew up watching
11:01a 24-hour TV program.
11:03Then I realized
11:05that children's programs
11:07on the first TV channel
11:09would last for 10 years.
11:11I also had talent and fame
11:13on the second TV channel.
11:15It was a dream.
11:17People witnessed
11:19that it was a cannon.
11:21I was able to get young people
11:23to watch and enter the studio.
11:25It was something I was deprived of.
11:27I would enter the studio
11:29at 4 or 5 pm
11:31and I would show them
11:33how cameras,
11:35all the components
11:37of television work,
11:39are made.
11:41Let's close this topic
11:43and open the topic
11:45of Ramadan dramas.
11:47As it is known,
11:49the month of Ramadan is
11:51at the doorstep.
11:53How many great TV works
11:55are prepared
11:57for the holy month?
11:59Do you think that
12:01during the blessed month of Ramadan,
12:03the audience will be able
12:05to watch a large number
12:07of works
12:09and enjoy all the works?
12:11Or perhaps
12:13some works will be
12:15oppressed by other works?
12:17First of all,
12:19we agree that Ramadan
12:21is a special golden season
12:23for the announcers,
12:25for the TV,
12:27because the number of viewers
12:29is high,
12:31as well as the production.
12:33For the technicians
12:35who work in Ramadan production
12:37in a large scale,
12:39families gather
12:41for the first time
12:43during the year.
12:45Children gather
12:47and wait to watch
12:49their TV.
12:51Unfortunately,
12:53this production
12:55is not used throughout the year.
12:57Why? Because the number
12:59of announcers
13:01is low.
13:03For example,
13:0520 TV works
13:07in Ramadan
13:09last for 4-5 months
13:11and a TV series
13:13lasts for a week.
13:15I always prefer
13:17that people
13:19do not watch TV
13:21in Ramadan
13:23so as not to lose
13:25their feedback.
13:27Local TV
13:29and other independent
13:31and international
13:33channels
13:35managed to get
13:379 million viewers
13:39in the first episode
13:41in the first week.
13:43I want to say
13:45that the first
13:47and last judge
13:49is the audience,
13:51but more than 120 articles
13:53were written
13:55and the episode
13:57did not end.
13:59Another thing is that
14:01in Ramadan,
14:03children are
14:05brought to TV shows
14:07and TV series
14:09for the first time,
14:11but during the year
14:13they can be brought back
14:15and there are new
14:17productions
14:19that are left
14:21to cover the TV network
14:23because now
14:25in Morocco,
14:27there is a great focus
14:29on TV works
14:31and since there are
14:33many production companies
14:35competing with each other,
14:37it is very difficult
14:39to broadcast
14:41all programs in Ramadan.
14:43Therefore, some programs
14:45and special works
14:47are left
14:49to be broadcast outside
14:51the frame of Ramadan.
14:53So, children are brought back
14:55and there is a great success
14:57with the audience.
14:59In addition,
15:01there is competition
15:03between Moroccan and Arab
15:05channels in Ramadan.
15:07So, we need to know
15:09the audience
15:11to whom we will present
15:13these Ramadan works.
15:15We cannot compete
15:17with foreigners
15:19in Turkey, Mexico
15:21or anywhere else
15:23except in Morocco.
15:25That is why I said that
15:27we need to know the audience
15:29to whom we will present
15:31these Ramadan works.
15:33Mr. Ahmed,
15:35what do you think
15:37about Ramadan?
15:39How did you explain
15:41the Arab works?
15:43I believe
15:45that a group of producers
15:47writers and screenwriters
15:49are always
15:51betting
15:53on the Moroccan audience.
15:55We are betting
15:57on our identity, our heritage
15:59and our history.
16:01We want to know the symbols
16:03of other countries
16:05more than our own symbols.
16:07I am not the same
16:09as an American
16:11in rap, but he is not the same
16:13as me in Ramadan works
16:15There was a TV series
16:17in the 1930s
16:19and we opened a window
16:21to our history
16:23and we opened a window
16:25to the history of leaders
16:27in the 1930s.
16:29There was a big communication
16:31on the first channels.
16:33Even Najib Mahfouz
16:35who won the Nobel Prize
16:37did not bet on a foreigner.
16:39He bet on Zouk,
16:41Qasr el Chouk,
16:43which is close to society, identity and culture.
16:45This is clear.
16:47Mr. Ahmed,
16:49we must open
16:51a very important section
16:53because I talked
16:55with Dr. Ahmed Dhafri
16:57and there is also
16:59a production of TV works
17:01in Ramadan
17:03to TV programs.
17:05I mean,
17:07if we stop at
17:09one of these programs
17:11which is considered
17:13a social program
17:15for you,
17:17what is the message
17:19of this work?
17:21What is the purpose of this program?
17:23First of all,
17:25under the auspices of
17:27the distinguished director
17:29who is still successful,
17:31I have a group of works
17:33which I told you about
17:35the local one,
17:37which is directed by
17:39Dr. Ahmed Dhafri.
17:41I live in a nursing home
17:43which is not a nursing home
17:45because we don't live in a nursing home.
17:47I used to contact them
17:49and enter their space
17:51and let them come
17:53and talk to us.
17:55Since childhood?
17:57Yes, since childhood.
17:59I used to play with them
18:01and encourage them.
18:03It is a dream to see them
18:05and if they look like dead people
18:07then we can do something
18:09to give them hope.
18:11They say they are desperate for life.
18:13This is the reality of TV.
18:15We used to film a situation
18:17where a real mother
18:19or a real father
18:21would come to the studio
18:23and do the fiction
18:25and we didn't bring
18:27famous actors.
18:29We brought real actors
18:31in the shadows
18:33but to have credibility
18:35and we were able to do it
18:37in the 6th season
18:39and we always have
18:418 million viewers
18:43and we open to the prisons.
18:45We have a partnership
18:47with Mindubias
18:49and we have mothers in prisons
18:51and we have programs
18:53in Canada, Egypt
18:55and in a group of European
18:57and Arab countries.
18:59I used to believe in the 80s
19:01that art can change.
19:03We will now watch
19:05a clip from the program
19:07La Habiba Oumy
19:09with the idea and preparation
19:11of Ahmad Bouaroua
19:13and Ikhra Jamila Ben Eissa Alborou.
19:33This is my mother
19:35This is my mother
19:37This is the mother I raised
19:39and I raised her
19:41when I was 4 years old.
19:43They wanted to divide me
19:45and take me out of the house.
19:47The place where I live
19:49was taken by my brothers.
19:51This is my mother
19:53This is my mother
19:55She is older
19:57but she still sees me as a child.
19:59This is my mother
20:01She is older
20:03but she still sees me as a child.
20:05I went to the police station
20:07and they helped me.
20:09I was taken to the hospital
20:11and they took me to the hospital
20:13and I was taken to the hospital
20:15and I was taken to the hospital
20:17and I was taken to the hospital
20:19This can affect
20:21the back of the child.
20:23I have been here for 30 years.
20:25I regret it.
20:27They tell me that I am impatient.
20:29This is my mother
20:31She is older
20:33but she still sees me as a child.
20:35What we need is
20:37a program like this
20:39because it strengthens social values
20:41and brings people closer to their humanity.
20:43It brings people closer to their society.
20:45We find ourselves in this program.
20:47This program
20:49is part of
20:51the job of
20:53the media.
20:55Media is education,
20:57education,
20:59awareness,
21:01and the mind
21:03in order to change
21:05for what is better.
21:07This program,
21:09especially for my mother,
21:11is a successful program
21:13that brings awareness
21:15and high-quality images
21:17to the Moroccan society
21:19to the extent that
21:21it is able to integrate and integrate.
21:23We noticed
21:25that Mr. Ahmed
21:27was kidnapped
21:29in a scene.
21:31I know that he built
21:33a mosque
21:35inside an institution
21:37for the elderly.
21:39All this
21:41gives him a value
21:43in terms of creativity.
21:45Let me confirm
21:47what Mr. Ahmed said.
21:49We know that art has its own form
21:51but art has its own guarantee
21:53in front of issues
21:55and issues
21:57that concern
21:59the Moroccan community.
22:01Unfortunately,
22:03we have reached
22:05the end of the program.
22:07One last question, Mr. Ahmed.
22:09What are the characteristics
22:11of a successful program?
22:13Is the number of viewers
22:15or the content
22:17or are there other elements?
22:19There are three
22:21characteristics, Mr. Hussein.
22:23Yes.
22:25You must know the audience.
22:27In terms of credibility,
22:29there should be
22:31a consensus.
22:33Whether you are a doctor or a singer,
22:35if you are honest,
22:37you will reach the audience.
22:39In addition, we are
22:41betting on the Moroccan team
22:43to make sure
22:45that the content is successful.
22:47But this is without
22:49exaggeration.
22:51In our work,
22:53we always bet on
22:55the Moroccan team.
22:57There are more than
22:5960 actors
23:01who have been searched
23:03for photos.
23:05The photos are personal
23:07and effective in the drama.
23:09We call on the state
23:11to promote
23:13its cities
23:15through drama.
23:17Yes.
23:19All I can say
23:21is that since
23:23in this episode
23:25I invited Mr. Hussein,
23:27a creative Moroccan producer
23:29who works on
23:31the production of ideas
23:33and drama,
23:35I can express
23:37my current pride
23:39in the level
23:41of Moroccan television production
23:43in this field
23:45thanks to the wise
23:47politics
23:49led by the administrations.
23:51He is responsible
23:53for the television production
23:55in Moroccan channels.
23:57Now,
23:59the Moroccan
24:01can follow
24:03his Moroccan productions
24:05and be satisfied
24:07with their values
24:09and compete
24:11with other
24:13foreign producers.
24:15Mr. Ahmed,
24:17at this stage,
24:19there is a revolution
24:21where everyone is a journalist,
24:23a critic, a screenwriter.
24:25Now, there is a revolution
24:27that confronts
24:29cultural, screenwriter,
24:31and journalists.
24:33Yes.
24:35Mr. Ahmed,
24:37we wish you a long
24:39and successful career
24:41in TV shows, drama,
24:43and your work as a journalist.
24:45We are honored to have you
24:47as a producer, screenwriter,
24:49and journalist.
24:51We wish you
24:53all the best.
24:57Thank you, Mr. Ahmed and the team.
24:59Thank you for the welcome.
25:01I am happy to be a guest
25:03in a show that I respect
25:05and appreciate,
25:07which is the Kingdom of Creativity.
25:09You are one of the creators.
25:11Thank you, Mr. Ahmed.
25:13I would like to thank
25:15Dr. Ahmed Al-Dafri.
25:17We are always happy to have you.
25:21Our viewers,
25:23following an artistic work
25:25that has all the elements
25:27and qualities of creativity,
25:29you travel through time and space
25:31in a journey of discovery and knowledge.
25:33The distinctive creative works
25:35contribute a lot
25:37in bringing us closer
25:39to our human identity
25:41through ideas that take us
25:43from imagination to reality.
25:45To talk about the forms of creativity,
25:47we have to say goodbye.
25:49Goodbye.
26:07Goodbye.