An Interview with Bayram Fazli, Director of Have You Another Apple?
End of Earth
Art and Experience-Ali Asghar Keshani: Value of Bayram Fazli’s work is emphasizing difference; something like rejecting routine and common rules in producing first film, something like insisting on do not accept old habits in making first films but his ambitious attitude didn’t let him to walk in the way of others which it means taking the biggest stone from his path. He did it! Also it was just ̋Art and Experience˝ which could be grateful of him.
Why did you choose metaphorical, satirical and surreal atmosphere for your idea?
I think when you show a story so unbelievable if even a believable atmosphere happens it touches hypertext unconsciously. It finds a kind of semiotic characteristics and makes the audience to think about the events around the subject. I want to reach to a series of hypertexts maybe symbolic with images beyond the main story by telling a simple story which can be taken from our folklore culture. So, I thought that if I film a series of stories which are not real I force the audience to think for instance when all the villagers are slept or it seems that they are slept, the audience think to something beyond a routine simple sleep. In addition, I look for a new experience in cinema which comes from literature and in cinema it was worked lesser; grotesque. Grotesque is a strange experience which helps to emphasis on conceptual connotation. In grotesque you face with two completely paradoxical feeling like fear and laugh or laugh and hate also cry and laugh, and…combination of these two senses can end a new thing which will be pure and makes the audience to think and challenge also pays extra attention to the meanings beyond text.
How difficult is attracting sponsors for these kinds of films? What is your idea generally about producing and distributing these kinds of films in Iran generally?Is it normal that a director who has no experience in set managing be engaged with decoration for six months?
When the film was made I had some experiences in producing but in some low-budget films of my friends. Maybe one of my mistakes which forced more finance was that I wanted to do setting myself. I had some small experiences in set managing and while I am a cameraman I almost knew that how it is possible to reduce budget with lowest material. The reason which postponed and made trouble for setting was that I didn’t have a good performer for decoration also I had to close cinematography for making it and be supervisor to build the décor. Another problem was a natural one which made a big trouble for us; after we mad cemetery décor, a hard storm destroyed it completely, so with some other times which we lost it was rather than a month that we had to close the project.
As I make my films with personal budget, it is natural that I have not to response to every other sponsor but you know, opposite of all my friends who made films with lower budgets, I thought that mine will be the same too but if even the storm didn’t destroy the décor again the budget was much more than I estimated. However, predicting some unpredictable accounting is necessary. You are right that 6 months pre-production is a little long in Iranian projects but when you want to get new form and result based on trial and error, also my little experience in setting, our budget got high.
Did you choose this voice which has a heavy satire because of the conditions of 2000s or did you have beyond-history look, or did you predict future with this kind of story?
I don’t know exactly but the only thing I know is that I like this way of storytelling and it is more related or close to my feelings. When you choose timeless, and nowhere you are free to talk about universal issues. When you look generally to a phenomenon, the number of your audience becomes more and everyone feels different from another one with the subject. I think the satire you mentioned will add to richness of concept also attractiveness of subject.
You designed costume and setting yourself; costumes which were taken from various ethnos and eras belonged to west and east and choosing one color for each village want to give us more elements of time and place?
Yes, in set designing I paid attention to harmony between décor and costumes. I wanted to have psychological influence more than signal concepts. For example when you see the black color you will expect something related to death or its effects, or when you use red you want to talk about something related to cruelty or carnage or white color has a sense of calmness. Moreover, this kind of designing distinguished villages in form and color and gave them exotic characteristic.