Art and Experience-Sahar Asr Azad: Behnam Behzadi, is a writer and director who has a personal style in filmmaking while he has just made three films; “We Only Live Twice”, “The Rule of Accident”, and “Inversion” are his works which focus on the interior concerns of human being in different narrative and drams with various visual form; however, each of them is unique work in Iranian Cinema. Behzadi is one of those directors who belives that filmmaking is a place for finding himself and dealing with conceptual concerns.

While you are writer and you write the scripts of your films, how do you write the script from the primary idea into writing it?

The way is different in every each script while the script is itself a result of thinking on one subject for a while, a character or a story. I cannot tell you exactly where is the beginning point of script but I can say that I think of it for long time, take note and talk about it with my friends, and if it needs, I will research about it too. After passing this stage, I disconnect all of my communication ways and I just focus on writing the script. The trend and process of my work is fixed and I write for 12-13 hours a day. The only act I do in these days is walking! Generally I make to versions of script; the first one is written with dialogue from the very first. Then I quit for a day and then I read the script and after that I rewrite the first draft completely. After the second draft, I come out from my cave. In this stage I can say that I have the first version of my script in hands. I also have to say that basically rewrite my scripts for many times. Maybe these revises be general or detail; but sometimes it happens that I rewrite for more than 10 times, but the first revision is just after the first draft.

How much your being director has had influenced on all of these revisions?

While I cannot be able to change the script when I’m making a film, so I try to write so punctual and in the time of shooting I try to be totally loyal to the script, so whatever is supposed to be happened in the film it must be written in the script from before. In such a situation I cannot even separate my being director but I just can think of the process from the first draft. If you see my previous scripts, you can completely find the final shape of the films in them. The script of “We Only Live Twice” was non-linear script from the very first. In “The Rule of Accident” script, the concept of sequence and scene was not clear anymore, and “Inversion” script was exactly whatever you see in the film.

Have you ever thought of having cooperation with a writer or you’ve found out that you are the co-pen of yourself?

I always have some friends as my colleagues who stand beside my during the different processes of scriptwriting; those who I talk with them in primary days about the main idea and some others that maybe I give them the script to write and profiting from their comments. They are a wide range; from a housewife to a scriptwriter. However, I can say that the very permanent person who had been always beside of me was Mohammad Hossein Shahsavari, the novelist and the writing teacher. He is the first reader of all of my scripts. In fact, he is the cowriter but he prefers to mention him as an advisor. During last 25 years old we were friends and he knows me very well also scriptwriting.

Where does the primary idea of “Inversion” come from?

I was always curious to know that if we take pattern in our relationships from the relations we see in society or we apply our pattern after upgrading of our situation. “Inversion” is an attempt for finding the answer for this question. If in our individual relationship, we persecute each other, wanted or unwanted, is it changed to a pattern in future that shape the relationship between power and people? I feel a big part of our behaviors in the society is a mirror of our behavior we do in a smaller pattern toward our surrounding people. It means that many of what we give from society, seems that is a magnified sample of what we do toward our surrounding people in our inter-personal relations.

The way of your storytelling is indirect. Why?

I guess it comes from literature. I’m interested in those books which I can communicate with them. After I finish them, I back to them in different time again and again and I look for something different in them. I like that my films be the same for its audience too.

All in 34th Magazine of Art and Experience