Ola Al-Shafei said at the beginning: I am against the idea of preventing or stopping filming a film or television work, whatever it is, because it is a very dangerous precedent, as if it sets a basis for what comes after that, and how the impact of social media can be. However, when the promo of the series is presented, the front of the series, and there are many huge errors that have been discovered, whether by specialists, or those who have read the history of their country and love it, then this is a real problem.
She added: The question is, did we work in a right or wrong way? And what happened says we did the wrong way. For a production company to stand up to the production of a historical series in these circumstances and at this time, and with this budget, this is very important. But you worked the other way around, you brought the star who liked the project, and the star began to choose others with him and the whole team, and the last thing you thought about was everything related to the decor and the look.
And she continued: I am not against making a drama that contains little imagination, and the work in any case is based on a good story of struggle, and our professor Naguib Mahfouz wrote different dramas about history, but this does not negate and does not mean exceeding everything related to the fundamentals. You have chosen a specific period of time, you must stick to that period. Films made in Hollywood, and even commercial ones, such as The Mummy and The Mummy Returns are very committed to details, so it is a matter that we stick to our history.
Ola Al-Shafei explained that she did not see that the artist Amr Youssef was close to the character in terms of form, and said: Of course, I am very appreciative of the efforts of the artists and Amr, and all the workers behind the camera, but Amr has a very important role. You love the project and want to do it, you as an actor have to make an effort, meaning you are formally completely out of character, and you should “lose” not to do a body building, this is for me paradoxically, you do not volunteer the character as you want. The issue revealed to us compound errors in the industry and how it works, and unfortunately this could be a very harsh and very important lesson, whether the series was completed or not.
Regarding the red lines of those who confront this type of historical works, and the permissible space for the imagination of the director and the author, she said: The imagination of the director and the author in the drama. Very sad for me you have a visual reference, not just temples. We have a great director named Shady Abdel Salam, who did not make “The Mummy” only. He made very, very important documentary films, and he has sketches for the movie “Akhenaten”, in which he worked for ten years and did not film, all of this is in the Library of Alexandria if there is an effort from those responsible for Decoration and clothing. They could have asked a very respected artist in Egypt, Nahid Nasrallah, who worked with Youssef Shaheen, and she was one of the students of Shady Abdel Salam. We have references in all forms.
She added: You specified and said Ahmose, and defined the historical period, so you must be committed, unless you present a fantasy, then it is possible to overlook the visual image. But when you talk about history, and you talk about a very influential and important figure in our history, the image, the shape and the details are important things.
And she continued, “When an actor is involved in more than one series of stylized sequels that shave his head, this is a shame, and it is not permissible. A series like this needs people to devote to and work. Here the issue is what does not work with the logic of the regular Ramadan series, nor the logic of the script, I have three series. No, this series paid people respectable wages that work, and this series and his plan remain in his year’s work. This is what I understand and appreciate and sympathize with. ”