What is the secret of your association with the remote environment? Is it because of the upbringing or is there another reason?
Not only because I am Saadi, but I would like to say that I am very familiar with most of the places, characters and families of Upper Egypt, if not all of them, even their differences in character, dialect and shape differing from the geography itself. Upper Egypt has very many details and also has many prohibitions. All these details need to be studied. Of any artist and I am very familiar with it.
We often see issues of revenge and weapons in Saidi business, what do you think?
This is a common mistake and a cliche that has persisted for a long time in the drama, but it is a wrong concept about the environment of the South, for Upper Egypt is a pure second subject, for the Upper Egyptians have their secrets and their own world, for example the methods of entertainment there are different from Cairo. In villages and hamlets, life is completely static, so you find their homes a special nature. The darkness among them is the story, and the young people listen to the stories and tales of adults, and from here the legend arose.
What if you were shown a dramatic text about revenge and the arms trade in Upper Egypt? Do you agree to take it out?
according to; Does it include an important issue? I will agree, but if it deals only with revenge and weapons as a matter of tradition and popular thought without any other issues, I will not agree, and I will tell you frankly: Whoever does not belong to Upper Egypt is not fit to write about Upper Egypt, then you will find the greatest of books on Upper Egypt, Abd al-Rahim Kamal, because he lives The Upper Egyptians sit under a sycamore tree in front of their home to write his works.
But the signs of the Upper Egypt drama were not written by the people of Upper Egypt, what is your response?
Certainly, they know the details of Upper Egypt a great deal, but I consider that an exception, so the writer must know the finest details, for example, for example, the Saidi woman has a certain value and shape that symbolizes a certain social level.
Do you think the Saidi theme is valid for all times, or does the public’s taste change at the present time?
Upper Egypt has changed its shape slightly, especially in cities and centers, but it still maintains its shape, customs and origins in villages and hamlets, but whether in cities or villages everyone clings to his level, so you find Al-Saidi takes the highest positions in Cairo, but when he returns to his home in Upper Egypt he wears the galabiyya and the aunt And it goes back to its origin.
Will you complete the Upper Egypt business chain in a new work during the coming period?
The director must have a great deal of creativity so that he can produce any work that belongs to multiple and different environments, so I am not with those who say that this director is good at comedic works and that one is good at action, and another is good at religious works, but a conscious director must have tools that enable him to produce any work Actions vary, but their approach is the same.
So tell us about your next job.
I have been waiting for my next work for years, and I chose an initial name for it “The Dream”, which is a social and comic work. It does not concern me when it is presented, whether in Ramadan or at any date. What is meant by the message that the work contains and that it deeply affects the scenes around the world, so his message is the love of the country and its leadership, and it will obtain The admiration of every honorable Egyptian citizen who loves this country, through which I seek to emulate the works that lived through the history of Egyptian dramas, such as Nights of Dreams, Shahd and Tears.
She announced a dramatic work on the autobiography of President Anwar Sadat. At what stage did the preparations for work arrive?
I would like to clarify that the work does not deal specifically with Sadat’s biography, but rather focuses on exploiting the period with all its practice of Egyptian nationalism. The work opens up lines to identify the true face of Egypt, as Egypt preceded all countries throughout the ages.
Do you not see it as a risk taking out a work for Sadat, especially after Ahmed Zaki’s personal portrayal?
The drama in Sadat’s life and the entanglements that existed in the political life at that time make an excellent work, but you need awareness and accuracy in writing.
Who is nominated to embody Sadat’s character in the series?
So far, I do not imagine a specific actor, and let me tell you even if the genius Ahmed Zaki was present, I would have been confused about choosing an actor, because the character of the hero is not what concerns me, but my concern is for the drama of the series to be intertwined to highlight the value of Egypt and the anatomy of that society at this time, because I love my country very much.
The drama is back in the national business again .. Is this your goal?
The selection series had a great impact on the young before the old, so it rejoined the souls of the new generation, after years of chaos for the younger generations, and after following the series a child cried and wished to become an officer in order to restore the right of our martyrs, and this is evidence that the drama is the hero and not the characters .
Nour El-Sherif was the first to nominate you for directing .. What did the superstar think of your talent to give you that opportunity?
The friction between us is what made him recognize him as a director. I dealt with him in the series Amr bin Al-Aas in the nineties, so in the series we contracted with an English director to direct the battles and I apologized for completing his work, because the circumstances are what made me take out those battles, and the experience of Nour al-Sharif is enough to know from the first scene if it was This director is talented or not. After the series, he insisted on producing a film by my direction, entitled “The Heart of the Elephant”, but I apologized for it 3 days before filming because of my association with the series “Devil’s Gardens”, as I was in charge of production at work.
Why was the work not completed after the completion of the “Devil’s Gardens”?
After that, we started working on a film written by Osama Anwar Okasha entitled “The Alexandrian”, but the work stopped after a week due to distribution, because the work belongs to “Festivals Films,” that was a classification that was common at that time and we expected no revenue, so we preferred to wait year after year it stopped Work on the movie.
A work written by Osama Anwar Okasha has not been brought to light. I consider it a treasure .. Why do not you think of presenting it now?
The film may not be suitable for the current timing, but I consider it worthy of the Cannes Festival, because it has many cases between cruelty and romance, but it does not suit the cinema presented at the present time, despite the name of the great writer Osama Anwar Okasha, and I am now planning to present a Pharaonic film work on the novel Naguib Mahfouz, “the one who lives in truth.”
And at what stage have the “actually living” preparations reached?
We have finished writing half of the film, and foreign stars will participate in it, after Voice of Arabs in America showed the film, and it consisted of 600 papers, but I rejected it and after a year they contacted me again, and it is written and directed by me, and the Italian actor Luca Ward will participate in it and the work is English-speaking. We are still nominating the rest of the actors.
What motivated you to this novel?
The work includes a purely Egyptian religious tendency as it revolves around the idea of monotheism and at the same time deals with the history of Egypt, which is distorted by the Americans and highlights it as myths and myths, when we dealt with myths in Upper Egypt, for example, we treat it as a myth for entertainment, as it is part of real daily life .
You have an unsuccessful movie experience with the title “It is such a thing” .. Why?
I was forced to do this work, and if it was presented to me in other circumstances, I would not agree to it, for reasons that I do not want to mention, but I can tell you that I had a check and I had to pay it, and it was at that time dark days at the time of the Brotherhood’s rule, and I was expecting someone to see it, so I said an opportunity to do a movie like this.
Some are promoting that drama directors are not successful in cinema .. What do you think?
This is a statement that has no basis in truth. Professor Ismail Abdel Hafez was his wish to produce a film through which he would prove that the theme does not differ on the small or large screen. Decoupage and the rules of the image have not changed since its inception until now because it is a scientific calculation, and he was betting on that, but that step His preoccupation with drama was not fulfilled season after season, so he was a genius whenever he expected the success of a work with a certain percentage, his expectations were met exactly without increase or decrease.
You were a witness to the duality of Osama Anwar Okasha and Ismail Abdel-Hafez … Why do we miss these successful duos?
If I met Abdul Rahim Kamal, we will repeat that duality, because our thinking is closer to each other, but circumstances have not allowed us to do so until now, and every time has its successes, but I would like to say that I have not seen a director who understands the concepts of drama like Professor Ismail Abdel Hafez, and it is difficult to find Lookalike.
Through your friendship with Nour Al-Sharif .. What is the secret that his fans do not know about him yet?
Nour al-Sharif is a person whose tears are close, although he is a very strong personality, and he does not show moments of sadness or despair in front of anyone.
What is crying Nur Sharif?
Nour al-Sharif was an orphan, that is the will of God, which formed within him human feelings that are difficult to exist in this way, and his uncle raised him and he loved him as much as he loved his father, so he had a deprivation from the father besides the surplus love from the uncle, and this greatly affected his humanity, as he was dealing with The poor person in a human way so that he would not feel the class difference, and he knew very well how to deal with others of all sects, and despite his sadness, he was always confused.
Did he cry in front of you? And what’s the reason ?
When he cried, he hugged him and did not stop crying until he cried with him, and he used to cry like a child, or as they say “shouta”. As for the reason, Egypt used to cry for him very much, and he expected the danger to lead him to tension, and he could not leave him except with those close to him.
I worked with Nour Al-Sharif and Yahya Al-Fakharani .. How are each technically distinct from the other?
Both of them have reached a degree of professionalism that makes them at a high level of diagnosis and sincere feeling, and I would like to add to them Ahmed Zaki and Mahmoud Abdel Aziz, so you will not find any of them fighting over a place of his name in the parchment or the Tatars or his reward, and among the advice of Nour al-Sharif to me: “Be aware, oh Hosni exaggerated your reward in order for the producer to find money to spend on work and succeed, “in contrast to what is happening now.
As for the differences between the two, Dr. Yahya Al-Fakharani cannot embody a scene unless he is authenticated and outside of his feelings and spontaneous, and he does not care where the camera is placed, so it feels that his body each represents, and he cannot make a scene with a workmanship or technique without believing it. A professional actor was able to act with his face and at the same time control the lighting of a scene with his hand that did not appear in the frame, so that he could separate his senses from each other.
She reconciled between Al-Abnoudi and Ammar Al-Shari’i after a break of 20 years .. What are the scenes of this situation?
Al-Abnoudi and Ammar Al-Shari’i collaborated with me in the series Al-Rahayah and Sheikh Al-Arab Hammam after everyone failed to reconcile between them for 20 years, but I succeeded in that. One time I was at Professor Ammar Al-Shari’i and my phone rang from a strange number and I answered, “Oh uncle.” After the call, he asked me Ammar Al-Shari’i: “He is Al-Abnoudi, he calls you, why”, so I found it an opportunity for reconciliation between them, so I asked him: He calls me your generation on the road and we will not embarrass him. … I am a pure beast person, then I told him the wheel fell asleep from him on the road, and he could not possibly come.
The next day I went to the son-in-law on his farm in Ismailia, and I let my son ring Alia from his phone saying that he was Ammar al-Shari’i, and I said: “Oh Mr. Ammar, you are coming … but Ismailia is very far away.” After the call, Al-Abnoudi said to me: “It is Ammar Jay Lee .. Believe it, my brother, I have longed for days of time .. How will he come .. No, I am the one who will go to him. I took advantage of the opportunity and called Professor Ammar and told him with you, I want to talk to you, and they spoke to some ordinary people with beautiful reproach, because they loved each other very much.