مدي 1 تي في : مع هشام الغفولي - 29/01/2025
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00:00Hello and welcome to a new episode, I hope you like it.
00:17We are going to have an artistic and daily patchwork show, as we do every day and every night.
00:23We will present to you and share with you some of the news, works and innovations of the art scene.
00:28Let's get started.
00:35Hello again and welcome to our guest today, the writer Hisham Ghafouli.
00:43Hello brother Osama, how are you?
00:46I'm fine, thank you.
00:47How are you?
00:48I'm fine, thank you.
00:49Welcome brother Hisham.
00:51First question, how did you become a writer in the art scene?
00:56Actually, I started writing for a play.
01:01It was a great honor for me to have Mr. Monsif Al-Qadiri, a screenwriter, who attended my play.
01:07He told me that he tried to write for a TV show.
01:11I worked with him in a capsule, and at the same time, he gave me the training and I worked with him in that capsule.
01:19So, after God's grace, I was able to work with Mr. Monsif Al-Qadiri, who helped me discover that I could write a screenplay.
01:28According to my knowledge, you had a tryout of a skit shot.
01:32Was it before or after the skit shot?
01:34After the skit shot.
01:35After the skit shot.
01:36And then you went back to the floor.
01:37Yes.
01:38And then you went back to the floor.
01:39Yes.
01:40Tell me about that stage.
01:41Of course.
01:42Brother Osama, you mentioned that it was a tryout.
01:46Yes.
01:47A person feels that he has a talent for something, but he keeps on trying.
01:51I was an actor, I did a lot of comedy, I did a lot of things.
01:55And in the end, I discovered that I can do all of that, but I can't deliver what I wrote.
02:01So, after that, as I told you, I had this tryout, and I was able to put myself in that context.
02:08Thank God, I made it.
02:11Let's go back to the lore.
02:13After the skit shot, I tried a stand-up skit shot.
02:18It's a very difficult skit shot.
02:20Very difficult, of course.
02:21It's a difficult skit shot, and it's difficult to play it.
02:23Because to make people laugh, you have to be smarter than them.
02:27Because the point is that you have to be smart enough to tell me something that I live or see.
02:33So, I would like to give credit to the people who continued in the comedy,
02:38and were able to do their part, because it was very, very difficult.
02:42Writing a comedy is more difficult than writing a drama.
02:44Of course.
02:45So, can we say that Hisham Ghafouri's real start was through the theater?
02:49Exactly.
02:51It all started in 2009.
02:54I was with a theater group, Mr. Mohamed Farah, may God have mercy on him.
03:00There was a play by Ahmed Tayeb, which took place in the city of Fes.
03:05I joined the group.
03:08They had a professional group and an amateur group.
03:10So, I started to do things naturally.
03:12I started with my hobbies, and I kept going.
03:14I gradually improved, until now.
03:17How did you find the passion for television?
03:20I told you, the passion was with Mr. Mansaf Al-Qadri.
03:24He's a great screenwriter,
03:26and he's doing a doctorate in a lot of cinematic works in Morocco.
03:30He corrects these scenarios.
03:33He was the one who encouraged me,
03:38and he gave me a training that I'm still working on.
03:42After that, I developed it.
03:44I did a project after project.
03:46I did some research.
03:48I did a lot of internships at festivals.
03:50It was a great opportunity.
03:53I met a lot of great screenwriters,
03:55who had internships and workshops,
03:57and the experience was accumulating.
03:59Okay.
04:00There's an example in the play.
04:02There's a focus on exaggeration,
04:05so that the voice and the story reach the audience.
04:09Maybe, in some sitcoms,
04:13there's a kind of exaggeration.
04:19Do you agree with this idea?
04:21In a sitcom, it's a film play.
04:25It's a TV play.
04:28It's a film play.
04:30So, it's necessary to exaggerate the situation,
04:34to be able to give...
04:36Because the sitcom depends on the caricature.
04:41If this happens, what will happen next?
04:44So, the sitcom depends on exaggerating the situation,
04:49in the events, in the scenes,
04:52to be able to be funny.
04:55How do you see the Moroccan audience
04:59reacting to the sitcom?
05:02At least, at one point,
05:04they were angry,
05:06they were worried,
05:08and maybe they didn't want to stay in the sitcom.
05:11But they continued.
05:13Honestly,
05:15when I do the measurements I see,
05:19for example, when I'm at my in-laws' house,
05:21or at my family's house,
05:23or at my uncle's house,
05:24and we have Ramadan breakfast together,
05:26I see that they enjoy it and they laugh.
05:28But, there's another category,
05:31which is young people,
05:33most of them are young people,
05:35who criticize the sitcom in social media,
05:38and it's not their right. Why?
05:40Because, maybe, the laughter
05:43that reaches them through the reels,
05:46or something like that,
05:48is a bit developed in them,
05:50and what they see in the sitcom,
05:52in wooden language,
05:54is sour, as they say.
05:56I understand that the sitcom
05:58produces a large number of views.
06:01But the number of views is one thing,
06:03and the effectiveness is another.
06:05You know that.
06:06Of course.
06:07So, you're saying, Hicham Ghafouli,
06:09that it can't be the age issue,
06:11and the issue of social media
06:13being too much, and making the sitcom unprofitable.
06:15Exactly.
06:16But the criticism,
06:17especially when it comes to social media,
06:19for example, I've never heard,
06:20in the market,
06:21people saying they hate the sitcom.
06:23I've never heard, in a conversation,
06:24old men saying,
06:25we have to ban the sitcom.
06:26But, the people who watch the sitcom,
06:28mostly,
06:29there's a certain generation
06:31that criticizes it.
06:33This generation,
06:34I told you,
06:35if you see a person,
06:36why do you ban the sitcom?
06:38It doesn't reach the level of laughter,
06:40or it doesn't make people laugh.
06:42Simply because,
06:44for example,
06:46you're watching an episode,
06:48which is 30 minutes long,
06:50to steal a slap,
06:51or to steal a smile.
06:53You have your phone,
06:54you have the reels,
06:55and you see the laughter,
06:56in a big way.
06:57So, maybe you should ban it.
06:59Maybe you should ban it.
07:00But, nevertheless,
07:01we agree that,
07:02the level of sitcoms,
07:03or comedy series,
07:04generally,
07:05should develop,
07:06season after season.
07:07Of course.
07:08And this has to,
07:09frankly,
07:10has to bear its responsibility,
07:12to develop this.
07:13It's not just the cinema.
07:15Actors, technicians,
07:16everything.
07:17It has to be fair.
07:18It has to be,
07:19for example,
07:20my brother Osama,
07:21we used to win sitcoms,
07:22for example,
07:23if we compared Moroccan sitcoms
07:24with American sitcoms.
07:25If we look at it,
07:26other than the topics,
07:27the ones who laugh,
07:28are usually the ones
07:29who laugh the most.
07:30The jokes that surpass
07:31the red lines,
07:32are usually the ones
07:33that make us laugh.
07:34So, we used to come,
07:35and we used to try
07:36to watch a lot of things,
07:37with a lot of red lines,
07:38and we used to get
07:39this production out,
07:40in these circumstances.
07:41I personally believe that,
07:42Osama,
07:43that he did this,
07:44not because of what we do,
07:45to be completely honest.
07:46OK.
07:47What do you really see,
07:48as a director,
07:49when you watch a sitcom?
07:50What do you see,
07:51when you watch a sitcom?
07:52What do you really see?
07:53A crisis in writing?
07:55Not now.
07:56Not anymore?
07:57Not now.
07:58Now,
07:59we have,
08:00thank God,
08:01our shows,
08:02they get shown,
08:03they get shown,
08:04on foreign channels,
08:05and that sort of thing.
08:06I think that,
08:07it started to develop,
08:08it started to open up,
08:09there are young people,
08:10I am talking about
08:11the Zappel Dofg,
08:12frankly,
08:13because they broke
08:14the Zappel Dofg,
08:15and a lot of people
08:16were losing their opportunities,
08:17and they were depositing
08:18their money,
08:19and they were losing their jobs,
08:20and they were losing their jobs,
08:21and they were depositing
08:22their projects,
08:23and the committee lost.
08:24Maybe it's this situation,
08:25because there was a little
08:26bit of a break,
08:27the same names were written,
08:28the same,
08:29if you want,
08:30the same thing is happening again,
08:31maybe there was a crisis
08:32at the time,
08:33but now we see
08:34that there is,
08:35thank God,
08:36a good energy.
08:37We will talk a little
08:38about your new work,
08:39and your news,
08:40brother Hicham,
08:41between the works
08:42you worked on,
08:43which you wrote
08:44your scenario for,
08:45or your conversations,
08:46which are all in the West,
08:47which are in the West,
08:48which are in the West,
08:49which are in the West,
08:51and you said that
08:52your works are very important,
08:53and among the resetters
08:54that you brought,
08:55I think this film
08:56is called Hotel Cazaphonia,
08:58and I watched
09:00its premiere,
09:01very exciting,
09:02and I waited,
09:03and of course
09:04the audience
09:05is waiting to watch it.
09:06How did you work
09:07on this scenario,
09:08Hicham?
09:09This film,
09:10it was very good,
09:11I was very happy
09:12with it,
09:13I'm only saying
09:14that it was very good,
09:15and on my character,
09:16I'm saying
09:17that I'm happy
09:18The idea of the film is that I'm from a big city,
09:26but in the current circumstances, it's a quiet city compared to Gaza.
09:31And while I was in Gaza, I was under a lot of stress.
09:37So I had the idea of making a film about someone who was born in a small city,
09:43but moved to a big city to achieve his dreams.
09:47What are the things that can make him different,
09:52make him strange, a lot of things.
09:54So I got the idea, and the film is about a couple of girls
09:59from a small city.
10:01They want to go to Gaza to work,
10:04because their city doesn't have any jobs.
10:07And they tell them that the idea is that when you go to Gaza,
10:11you'll easily find money.
10:14So they go, and the first thing they find is a suitcase full of money,
10:18and they start their adventure.
10:20And what about the hotel?
10:22It's in that hotel.
10:24So they rent a hotel, and they find a suitcase,
10:27and they start their adventure.
10:30So it's in Ramadan.
10:32Yes, in Ramadan.
10:33You worked a lot on the dialogues in the second part of the series.
10:37How did you do that?
10:39And you weren't in the first part, right?
10:41No, I wasn't in the first part.
10:43It was a request from the screenwriter Fatih El Yousfi,
10:46whom I greeted.
10:48She contacted me, and she wanted something new for the second season.
10:56The first season was about the dialogues with Soufiane Naoum.
10:59And I was very happy to accept her request.
11:04And how did you work on that?
11:06Because it's going to be in the second part,
11:09and you weren't in the first part.
11:11Did you have to work on both sides of the first part,
11:15or did you prefer to keep it simple,
11:19and focus on your own style?
11:22I didn't see the first part,
11:25so I had to work on both sides.
11:28And of course, I had to work on both sides of the first part.
11:34Because the characters are the same,
11:36they have to speak the same language,
11:38they can't be changed,
11:40they can't have new elements.
11:42So, for example, in the character of Dounia Boutazout,
11:46you had to work on her style,
11:48and in the character of Ayoub Gareta Atiaoua,
11:50who had a change in the second part,
11:52you had to work on who she was,
11:54and how she would react.
11:56Of course, of course.
11:58Because, as I told you, they are the same characters.
12:01Maybe there was a change in the character of Dounia Boutazout,
12:05because in the second part, Sheikha Halima
12:09was trying to be classy.
12:11She was trying to be calm.
12:13Yes, exactly.
12:15And there was a change in the character.
12:19What is the difference, Hicham,
12:21between a scriptwriter who has a lot of experience
12:25and a scriptwriter who doesn't?
12:30Oussama, in Morocco,
12:32all the scriptwriters are journalists.
12:34We don't have a desk to read the script.
12:38But you have a lot of experience.
12:40Of course, of course.
12:41I see it as a journalist's field,
12:43because they don't have many opportunities.
12:45You don't give them academic doubts.
12:47No, there are no academic doubts.
12:49I don't have any academic doubts.
12:51There are a lot of experiments.
12:54The advantage of writing is that
12:57you meet other scriptwriters
12:59and you learn a lot from them.
13:01It's not something you don't know,
13:03but you learn from them.
13:05So there is no sharing.
13:07Do you think it's necessary for a scriptwriter
13:10to have a lot of experiences
13:12and a lot of situations in his life
13:14to start writing a script?
13:16I think so.
13:18Because drama is a reflection of reality.
13:22You have to have a lot of experiences,
13:25and at the same time,
13:27you have to have the power of observation.
13:30You don't have to have a lot of experience
13:33to start writing a script.
13:36It's also important to know other people's experiences.
13:40It's important to have a lot of family,
13:43friends, and friends.
13:46So you sit with your friends,
13:48you sit with your family,
13:50and you say,
13:52What do you write?
13:54What do you write on your phone?
13:56I write on my phone.
13:58No, I don't write.
14:00What do you write?
14:02I always write on WhatsApp.
14:04So Hicham writes for Hicham.
14:06Who do you spend time with?
14:08In the church, in the cafe, with your friends?
14:11Do you spend time with someone?
14:13It's a very famous term
14:15for scriptwriters.
14:17You spend time with someone,
14:19you hear their story,
14:21or you read a sentence.
14:23Yes, exactly.
14:25You take from your environment,
14:27your family,
14:29you watch it,
14:31because a scriptwriter has to watch it.
14:34It's not a transfer of an idea,
14:36but an idea you see in something,
14:38and you relate it to another idea.
14:40From coffee, from meat.
14:42Okay.
14:44Let's talk a little bit about
14:46the new name of a Moroccan artist.
14:48Her name is always mentioned.
14:50Her name is Ouidad.
14:52This is her new album.
14:54It's her 40th album.
14:56It's an orchestral version of her song,
14:58Kit.
15:12You can see that Ouidad is always
15:14in the spotlight,
15:16she is one of the most important
15:18artists of the Moroccan scene.
15:20You have a patchwork
15:22and a beautiful title,
15:24Kit.
15:26What do you think,
15:28as a scriptwriter,
15:30about choosing the title
15:32of your drama or comedy?
15:34In the past,
15:36we made a lot of suggestions.
15:38The producer would suggest.
15:40Usually, in the film group,
15:42we would put a lot of suggestions.
15:44We were flexible
15:46in choosing the title.
15:48How do you work on the rhythm?
15:50In my opinion,
15:52a good drama,
15:54a good comedy,
15:56or a cinematic one,
15:58is the rhythm.
16:00There should be a dialogue,
16:02a series of events,
16:04and it shouldn't be boring.
16:06How do you, as a scriptwriter,
16:08and as a technical answer,
16:10how do you work on that?
16:12Of course,
16:14I agree with you 100%
16:16that the visual rhythm
16:18is the most important thing
16:20to decide if the film is going to be interesting
16:22or not.
16:24Honestly,
16:26as I said in my book,
16:28it's not a problem.
16:30I start with a synopsis.
16:32I start with the idea,
16:34then I tell the story,
16:36then I work on the environment.
16:38I put the big events
16:40and I try to see
16:42when these events
16:44should happen
16:46in order to find
16:48a cohesion
16:50in the general structure
16:52of the film.
16:54The rhythm
16:56is created
16:58in silent scenes,
17:00in the sequence
17:02of situations.
17:04I try
17:06not to make it boring
17:08in the scenario.
17:10Of course.
17:12What are the works
17:14that you are most proud of?
17:16The Daughter of the Founder.
17:18Honestly, The Daughter of the Founder.
17:20I think it won an award.
17:22Yes, The Daughter of the Founder
17:24won the best drama award
17:26and the first TV series to be shown on Sharjah.
17:28Honestly,
17:30when we wrote The Daughter of the Founder,
17:32we didn't expect it to be a success.
17:34It was the first time
17:36and I was proud of it.
17:38When I saw something I did,
17:40the Moroccans agreed
17:42that it was a good step.
17:44Of course,
17:46I had a good relationship
17:48with the screenwriter Bouchra Malek.
17:50I was proud of
17:52the acting.
17:54The damage wasn't shown much.
17:56That's another thing.
17:58The acting
18:00is the closest to me.
18:02It's what I felt
18:04and what I really wanted.
18:06What are the advantages
18:08of a good screenwriter?
18:10He should be able to sit.
18:12Why should he sit?
18:14He should be able to sit.
18:16He should be able to sit.
18:18I don't know why
18:20the majority of Moroccan screenwriters
18:22are women.
18:24Because they are sensitive.
18:26And because they sit.
18:28I don't know why.
18:30Because the man in front of them
18:32is moving.
18:34I think the first thing
18:36is that you should be able to sit
18:38in front of your computer
18:40for a long time.
18:42Or in front of your pen for a long time.
18:44Because that's important.
18:46The second thing
18:48is the imagination.
18:50The imagination should be broad.
18:52The imagination is the most important thing.
18:54But you should be able to do it.
18:56If you play for a long time,
18:58you can't write and create.
19:00If you play for a long time,
19:02you can't write and create.
19:04Maybe you should go out
19:06to a quiet place,
19:08to a hotel.
19:10Honestly, I don't write in silence.
19:12You don't write in silence.
19:14I want to be in a cafe.
19:16In a cafe.
19:18In a cafe.
19:20I want to hear people
19:22in the background.
19:24I want to hear people
19:26in the house
19:28in the car.
19:30You don't have a problem.
19:32Silence is important.
19:34Silence is inspiring.
19:36I want to hear people.
19:38You want to reduce the volume.
19:40Exactly.
19:42Is there a family relationship
19:44with Zakaria Ghafouli?
19:46I think that's a good question.
19:48I think that's a good question.
19:50I think that's a good question.
19:52I think that's a good question.
19:54I think that's a good question.
19:56Ghafouli and his wife
19:58Ghafouli and his wife
20:00are from Taza.
20:02He has the same wife.
20:04We are not a family.
20:06We are not relatives.
20:08We are friends.
20:10But we are a big family.
20:12If something happens to me,
20:14I don't care.
20:16I don't care.
20:18Where do you live?
20:20I live in Taza.
20:22I live in Taza.
20:24In the primarily rural area in Zana.
20:26Anyway, we are Moroccans.
20:28This sentence came from the
20:30Moroccan and Morocco transitions.
20:32This sentence came from the
20:34Morocco and Morocco transitions.
20:36It was Portuguese and
20:38had an official name of
20:40the Moroccan Party,
20:44that elected the Moroccan
20:46at the African Cup.
20:48Let's listen to a short clip
20:50to the Moroccan
20:52Maghrebi, Maghrebi.
21:22Maghrebi, my home land.
21:25My home, my land, my home.
21:30I have no one to call my own.
21:34I have no one to call my own.
21:38I have no one to call my own.
21:43I have no one to call my own.
21:48Thank you, thank you, thank you.
21:52To all the Maghrebis in this country.
21:57Thank you, thank you, thank you very much.
22:01For the love of the country in this country.
22:06I have no one to call my own.
22:10I have no one to call my own.
22:15Oh, Maghrebi, oh.
22:19Oh, Maghrebi, my home land.
22:23Maghrebi, Maghrebi, my home land.
22:28My voice in the world is always heard.
22:32Maghrebi, Maghrebi, my home land.
22:37I have no one to call my own.
22:41I have no one to call my own.
22:45My voice in the world is always heard.
22:50Maghrebi, Maghrebi, my home land.
22:55The official announcement of this song was made on the stage of Mohamed V in Rabat city
23:01at the concert of T.A.J.O.S.O.R.
23:06in which Redouane performed this song.
23:11This song will be released soon as a video clip.
23:16There were some contradictions, especially on social media.
23:21There were supporters and opposers.
23:24But it is necessary that this song will be successful.
23:28This song will be the official song of the Moroccan National Election and of the Moroccan supporters
23:34at the African Song Contest.
23:37The song was written by Redouane.
23:41Also, Abdallah Faleh, who participated in the first song, Hala Hala Hala.
23:46Redouane is the arranger.
23:49Soon it will be a video clip.
23:52The goal of this song is that the supporters of Real Madrid sing it.
24:02This is the goal of the Moroccan supporters.
24:07How do you like the song?
24:09It is good, as you said.
24:11It has to be exact.
24:13With time, it will be perfect.
24:15I am sure it will be perfect.
24:17What are your new projects?
24:21There is a new sitcom, which will be released in Ramadan.
24:29Hotel Cazafornia, which will be released in Ramadan.
24:33There is also a drama series, Jareemat Shweik, which will be released on the first channel.
24:39What do you think?
24:41In Ramadan, there is not much planning.
24:45There is more criticism.
24:47Maybe the criticism is easy.
24:49Exactly.
24:51Honestly, we can't avoid criticism.
24:57We can say that everything has a right to be criticized.
25:00But we don't hate the encouragement.
25:04Because the encouragement of the national production
25:09will increase in the future.
25:11If we encourage each other, we will be able to move forward.
25:15Let's go back to the projects you wrote.
25:17They will be released in Ramadan.
25:19If they are good, we encourage you to sell them.
25:21If they are not good, we don't want them.
25:23There is Hotel Cazafornia, which is my scenario.
25:28There is Mbrok Ziyadah, which I and my colleagues worked on.
25:35There is also a drama series.
25:41I don't know if it will be released in Ramadan or not.
25:43We have reached the end of the episode.
25:45Thank you, brother Isham.
25:47Thank you very much for the invitation.
25:49I hope I was a little light on the viewers.
25:53I wish us good luck and find young people who work in this beautiful country.
26:00Thank you, Isham.
26:02We have reached the end of today's episode.
26:04Thank you for watching us.
26:06I wish you good luck.
26:08See you later.