مدي 1 تي في : مع لطفي أيت الجاوي - 22/01/2025
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00:00Welcome to a new episode of Patchwork, where we will share with you the latest news and the latest developments in the field of art.
00:27So, get ready and let's get started.
00:34Welcome again, I suggest that we all discover what is the guest of today's episode, the director of this film.
00:58I am proud of you.
00:59All of this is because you want to fight the Quraish.
01:02We are in a small room.
01:03A big room.
01:04A medium room.
01:05Why don't we go to our rooms first?
01:07Then we go back to our rooms.
01:08Let's go, let's go.
01:09Mr. Damshat, these are the measurements of the screen.
01:11Go ahead.
01:12Hold this, I will give you the juice.
01:13Protect our children.
01:15Protect our children.
01:16These people, these people, these people.
01:18Protect them, Mr. President.
01:21Hello?
01:22Where are you?
01:23Don't move!
01:27Welcome.
01:32A film that is currently in the cinemas.
01:34Today, we will welcome the director of this film, Walot Feidjawi.
01:39Hello and welcome.
01:40It is a pleasure to be with you.
01:42Thank you for the invitation.
01:43Welcome.
01:44I am very happy because the film will be shown in cinemas starting from Wednesday.
01:49The first screening was in Kaza, in Megorama.
01:52We can say that the audience was very excited.
01:55The third screening was a little bit late.
01:58There was a small problem with the audience.
02:00But thank God, people came to watch the film.
02:03The first screening was in almost three cinemas.
02:05The audience was...
02:06One and a half.
02:07One and a half.
02:08One and a half.
02:09Thank God.
02:10Thank God.
02:11We are still waiting for the first screening.
02:12We are waiting for the release.
02:13We are waiting for the film's trailer.
02:15We are waiting for the casting and distribution.
02:17We are waiting for everything.
02:18What was the title of the film from the first day?
02:21Yes, from the first day.
02:23It was Routini.
02:25It was the name of Nora Beauty.
02:28Nora Roujoula.
02:29But it was Routini.
02:31There were three titles in the beginning.
02:33There were three titles in the beginning.
02:34Everything was more special.
02:36And in the end, it was decided that it was Routini.
02:38Routini Kabbis.
02:39Ok.
02:40Ok.
02:42What did you do in the beginning?
02:44Did you work on this film?
02:45Did you work on this story?
02:47Was it during the days of the Tik Tok phenomenon?
02:51Or was it during the days of the daily Routini?
02:54No, the idea came to me when I was in Marrakech
02:58with Aziz Dadas, Majdoul El Idrissi and Rafiq Boubkerf.
03:01I tried to watch the film Telfazi.
03:03I won the first prize at the Cannes Film Festival.
03:06There was an answer,
03:07a feeling between me and Majdoul.
03:10And I started to watch it.
03:11It was under the idea of Routini.
03:13Indeed, I fell asleep and went to bed.
03:17I tried to move forward with the screenwriter Hakim Qibabi.
03:21Until one day, I was invited to the Montage Meshkour
03:24by Mohamed El Jamiy with Moad Ghandi.
03:28They told me,
03:29here is the film that Majdoul El Idrissi suggested to you in Marrakech.
03:33I was very happy to be close to this phenomenon
03:37which is widely spread in the media.
03:41I tried to be close to the Moroccan audience.
03:44I said, why not?
03:45We should focus on this topic
03:48that the world government and Morocco
03:52can't stop in front of this circle of Routini
03:56or TikTok and so on.
03:59Routini, as you know,
04:01attracts a high percentage of viewers
04:04whether in the circle or not.
04:07We decided to take this experiment
04:09and be close to the problems of Moroccan citizens
04:12and convince them.
04:13What did you and the team who worked on the film
04:16look for in this phenomenon?
04:18What did you find in it?
04:20What did you find in the TikTokers?
04:22What did you see in the videos?
04:25What do you think is positive or negative?
04:29Personally, I didn't know much about the phenomenon.
04:32I contacted the lady,
04:34I went to her,
04:35and I found...
04:36She's an Australian.
04:38What is the phenomenon?
04:39What is the phenomenon?
04:40I was inspired,
04:41I met a lady,
04:42I worked with her,
04:43I met another lady,
04:44and she gave me money.
04:46Yes, people have money.
04:47Everything needs money.
04:48Yes, when you enter, you get money.
04:50And what are these people who want money?
04:53Everything needs money.
04:54There is a big question mark.
04:56It will remain on the tables of the people in charge.
05:01I didn't know.
05:02Indeed, I went deeper into the subject.
05:04I didn't know what was going on.
05:06We sat down.
05:07What is this?
05:09What are these people doing?
05:10What is this?
05:11What is this?
05:12What are these positives and negatives?
05:13We tried to be smooth
05:16in dealing with this subject.
05:19Of course, there are positives and negatives.
05:22We had to be careful in dealing with it.
05:24Technology will remain a part of it.
05:27I can say that this is a routine film,
05:29a comedy film.
05:30It is not a reportage,
05:32it is not a documentary.
05:33It doesn't go around in a journalistic way.
05:37It is a comedy.
05:38In the end, it is a comedy-drama.
05:40There is a story,
05:41a comedy-drama,
05:42a story,
05:43a story,
05:44a strong story,
05:46a complete scenario,
05:47an element of strong excitement,
05:50an element of excitement.
05:52There are a number of ingredients.
05:54There is important music.
05:55The music was amazing.
05:57It was played by Amin and Mahdi Khalif.
06:01Thank God.
06:02From the beginning,
06:03there was an answer
06:06to the production
06:08that Mohammed Al-Jamia brought to me.
06:10From the beginning,
06:11in the scenario,
06:12I tried to make the scenario
06:15a moving material.
06:17From the beginning,
06:18from the idea,
06:20from the logline,
06:21from the idea,
06:22from the synopsis,
06:23from the script,
06:24from the editing,
06:26I tried to make the scenario a moving material.
06:29Thank God,
06:30Mohammed Al-Jamia was with me in a balance,
06:32in a balance,
06:33until we came out with the complete story.
06:37Why weren't there any influencers in the film?
06:41Influencers in the film?
06:43First of all,
06:45there was no profile.
06:48Or actors-influencers?
06:53I want an honest answer.
06:55You have to remember this word.
07:00Because actors,
07:03or the acting department,
07:05or the person,
07:06have their own people.
07:09And we can,
07:10except if these influencers
07:12are capable of casting,
07:13as you know,
07:14international castings,
07:16you can take one,
07:17if you like actors,
07:18we can say
07:20Schwarzenegger,
07:21or Stallone,
07:22or this or that.
07:23There were no influencers.
07:25You rejected a lot of castings.
07:26Castings.
07:27You can see a profile I did in Dubaible.
07:30Dubaible hired actors
07:32who started from the beginning,
07:33who were strong,
07:34and they gave a special performance.
07:36Sometimes,
07:38we can find actors
07:40who are not academics,
07:41or this or that.
07:42But I chose to be with professional actors.
07:45In addition,
07:46the film has a discovery,
07:48a discovery of two young girls,
07:51Malaka Clara and Marwa.
07:53They were beautiful.
07:54I gave them the casting,
07:55and thank God,
07:56they were more than great.
07:58What are the names?
07:59Tell us what was in the casting,
08:01and who were the actors who participated.
08:03There was Aziz Dadas,
08:05Majdoul El Idrissi,
08:06Rafiq Boubkar,
08:07Abdullah Ajil,
08:08Souad El Alaoui,
08:09Abdullah Haq Bel Mjahid.
08:12I will make it easier for you.
08:14Nabil Atif.
08:16The young girl, Malaka Clara,
08:18Marwa,
08:19Marrakeshi,
08:20and other actors,
08:22Tarek, Nabil Atif.
08:24All of them are respected actors.
08:27Let's start with the other actors.
08:29One of the young girls,
08:30I gave her a wild casting.
08:33This picture is from the previous show.
08:36How was the atmosphere of the show?
08:38I can tell you that I was so happy.
08:42So happy,
08:43this is something digital.
08:44No, thank God.
08:45The audience reacted strongly.
08:49There was a lot of noise,
08:51in front of the show,
08:52in the middle of the show,
08:53and behind the show.
08:54So much so,
08:55that Mohamed El Jami
08:57came out of the show,
08:58and when he left,
08:59he said,
09:00Lutfi, you didn't come out.
09:01Thank God.
09:02The brothers stayed there,
09:04from the beginning to the end.
09:06They watched the film.
09:07The audience was,
09:08I can tell you,
09:09very special.
09:11The audience was different.
09:13It was a film for the general audience,
09:15and a film for my friend.
09:17He said,
09:18Lutfi, we watched the film.
09:20We wanted to have a chat with you.
09:22We liked it.
09:24We watched the film,
09:25and it was beautiful.
09:27As a film director,
09:30I wanted to see
09:32the audience's reaction,
09:35and analyze it.
09:37What do you think,
09:38in the previews,
09:40that the audience reacts
09:42during the previews?
09:44In the place where the gang is?
09:46What do they say?
09:47Where is it exactly?
09:48Or do they never get surprised
09:50by the audience's reaction?
09:52I can tell you,
09:53we have an audience
09:55that is aware and smart.
09:57I can tell you,
09:58about 70% of what I said
10:00was correct.
10:02They react to the situation,
10:05to the situation.
10:06They react to the improvisation
10:08of Aziz Dadas,
10:09and we salute him.
10:12Thank God,
10:13the reaction was good.
10:15Tell us more about the story.
10:18Okay, the story.
10:20The story is about
10:22the life of a quiet family.
10:24They live a happy life,
10:26until they have a guest,
10:28an extraordinary guest,
10:30Routini.
10:32This wife,
10:34the wife of the lawyer,
10:36the lawyer of the people.
10:38The lawyer's wife hits her,
10:40Routini runs away.
10:41She is harassed.
10:42She is harassed,
10:43but she was harassed,
10:45and they didn't know.
10:47She is a hero and a victim.
10:49She is a victim.
10:50Even the audience,
10:51the audience's reaction,
10:53this lady,
10:54this technology,
10:55they didn't have it.
10:57This lady entered this world,
10:59and they didn't know why.
11:00Until she tells the story,
11:02with the story,
11:03the judge,
11:04she is harassed,
11:05she is criticized.
11:06The prison,
11:07she is harassed,
11:08the family,
11:09they don't have a good situation.
11:11The problem.
11:12The problem.
11:13A happy ending.
11:14One of the sequence,
11:16there is the health,
11:17and this fire of health,
11:19how did you work on it?
11:21Before I shoot this scene,
11:23I had a great technical co-op
11:25that I gave to the brother Mohamed El Jamiy,
11:27and I was sitting with him
11:29in the preparation office.
11:31The health of the health,
11:32between us.
11:33I contacted the brother Sadiq,
11:35who I would like to greet,
11:37Abdullah Oksah,
11:38he is a start coordinator.
11:39I won't give you a lot of details.
11:41No, we didn't read it,
11:42tell us a little.
11:43Hassan Tipado,
11:44maybe there is a cascade,
11:45a double.
11:46There is a cascade,
11:47yes, there is a cable,
11:48there are a lot of people,
11:49there are the people of Warzazat,
11:50who all have respect,
11:52I worked with them for years.
11:54For many years.
11:55They came,
11:56and they gave me,
11:57as you say,
11:58they gave me the baroque,
11:59and even the producers,
12:00I thank them,
12:01they gave me this scene.
12:02This time,
12:03I told them,
12:04I will add more to the film,
12:05and thank God,
12:06they were with me.
12:07This is good,
12:08the conditions are good.
12:09Yes,
12:10and it is a nice thing,
12:11to have a harmony
12:12between production and production.
12:13Thank God.
12:14The Tunisian duo,
12:15Majdouline Idrissi
12:16and Aziz Dadas,
12:17we have seen them
12:18in many films,
12:19we have seen them
12:20in many series,
12:21we greet them a lot,
12:22because they are not
12:23witnesses,
12:24they are not heroes,
12:25they are extraordinary.
12:26But,
12:27you don't have
12:28a little bit of fear,
12:29that you will be
12:30in the film,
12:31that you will be
12:32in the film,
12:33or you will work with Aziz Dadas,
12:34or you will work with Dadas,
12:35you used to work with them?
12:36I didn't have fear,
12:37because I already
12:38worked with them.
12:39With Aziz Dadas,
12:40I've known him
12:41for years
12:42from Kabul.
12:43Majdouline Idrissi
12:44was a good person,
12:45she was helping me
12:46in the artistic,
12:47as a person
12:48who gives.
12:49From the begining,
12:50from the beginning
12:51we got used
12:52to what is
12:53called
12:54the schema
12:55of the acting,
12:56of the artistic
12:57and of the technique.
12:58And,
12:59thank God,
13:00we felt
13:01It's a nice thing to work with a team that you can interact with.
13:06It's neither technical nor artistic.
13:10I wasn't afraid.
13:11The audience will see Aziz Dadas and Majdoul El Idrissi in a different way.
13:17Can you say a technical word?
13:20Bankable?
13:22Sure.
13:23You agree?
13:24Yes.
13:25If there is no money in the account, the audience won't be able to find it.
13:29The audience will come and enjoy the show.
13:34It's fun.
13:35Can you tell us about the film Routini?
13:39It's a commercial film.
13:42What do you think?
13:44It's a commercial film.
13:46I'm not afraid of it.
13:48I was with some friends who were invited to the show in Rabat.
13:52Aziz Al Arab Al Alawi, Meshkour and his brother Jouhary.
13:57It's a commercial film in a cinematic language.
14:03It's a film with a story.
14:09It's a commercial film for the audience.
14:13It's a cinematic language with strong images and transitions.
14:18There is a hero, a structure and a lot of elements.
14:23It's a commercial film for the audience.
14:26It's nice to have diverse films in Moroccan cinema.
14:30It's a commercial film for the audience.
14:34It can be a gateway to other films made by my colleagues.
14:41They can come to the cinema and watch the film.
14:46They can say hello to the audience and let them discover it.
14:50It's nice to have a cultural film, a police film, a commercial film.
14:54Every week, the Moroccan families come to watch the film.
15:01It's nice to have someone to talk to.
15:03Do you support the public or the private sector?
15:09The public or the private sector?
15:11I don't know.
15:13I don't know.
15:15Do you support the public or the private sector?
15:18No.
15:19The public or the private sector?
15:21No.
15:22I'm not lying.
15:25I want to hear the honest answer.
15:27I support the private sector.
15:32I don't fear the Moroccan cinema.
15:36I invest in it.
15:38I thank the Media Connection for sponsoring it.
15:42I invest in the film.
15:44I invest in the director and the screenwriter.
15:48I invest in this project.
15:50There is no cinema center in Egypt.
15:53There is no support from the state.
15:55There is no private sector.
15:57We need to improve.
16:01We need diversity.
16:03Every company should produce a film every year.
16:07It's nice.
16:09There is no cinema center in Morocco.
16:11There is no cinema center in Morocco.
16:13There is no cinema center in Morocco.
16:15There is no cinema center in Morocco.
16:17There is no cinema center in Morocco.
16:19There is no cinema center in Morocco.
16:21There is no cinema center in Morocco.
16:23There is no cinema center in Morocco.
16:25There is no cinema center in Morocco.
16:27There is no cinema center in Morocco.
16:29There is no cinema center in Morocco.
16:31There is no cinema center in Morocco.
16:33There is no cinema center in Morocco.
16:35There is no cinema center in Morocco.
16:37The position of the Director of the Library is not in the hands of the regime.
16:41They are responsible for their work.
16:43But the Ministry of Culture and the Ministry of Education
16:45have to integrate in this matter.
16:49We have a will to improve.
16:52We have to create our own international film.
17:01I hope that people will go to the theatres
17:03and a long life for your routine film.
17:07What is your goal and what do you want to achieve?
17:12What are the horizons you wish to reach?
17:15Maybe through numbers and income.
17:19We don't say investment,
17:22we say return to investment.
17:24Do you agree or not?
17:25I agree with you.
17:26God willing, there are good horizons
17:29and there is also a distribution outside Morocco.
17:34We are still in contact with them.
17:39Maybe the film will be sold in Egypt?
17:42There are other Arab and European countries.
17:47Let's talk about your background.
17:51We heard about you in Eid al-Jawar.
17:53We first met you in the field of cinema.
17:56What made you decide to work in the field of cinema?
17:59After I graduated from university,
18:04I went to school in France.
18:06I met my family there.
18:09I auditioned in Marrakech.
18:13I went back for years.
18:15I met my friends there,
18:18Nour Dina Berdine and Nisrat Mohamed Nisrat.
18:21They are not Korean.
18:22They are from MPS, Jouzou.
18:24I worked with Algerian Shamers.
18:26They taught me how to work with brothers and children.
18:29I started with IMDb.
18:33From 1998, Jouzou, Algerian Shamers,
18:36Kingdom of Heaven, training.
18:38Bible, Vikings.
18:40Prison Break.
18:41Yes, Prison Break.
18:43I was the second assistant director.
18:46Thank God, in 2000, 2002, 2003,
18:49I became a second and third assistant.
18:51I worked with any school,
18:54except for a few.
18:56At that time, there were no cinema schools in 1996-1998.
18:59Now, thank God, there are schools.
19:02There are young people.
19:04I tried to advance.
19:06I attended a master class.
19:08I tried everything, except for more.
19:10I worked with Koreans, with Chinese.
19:13For example, Vagabond.
19:15Vagabond, the director comes and shoots 360.
19:18He doesn't have a base cam.
19:20He doesn't work with a camera.
19:22He doesn't shoot 360.
19:24He shoots 360.
19:26Everyone is on the chair.
19:28The director, the lighting, the lighting.
19:30But there is a camera.
19:32Yes, there is a camera.
19:34It's a production.
19:36Everything has a price.
19:38If you want to shoot a 4-week film,
19:40you have to pay 12 weeks.
19:42I respected some producers.
19:44If you want to shoot a 4-week film,
19:46you have to pay 12 weeks.
19:48I said, it's a week or two.
19:50He said, it's up to you.
19:52I didn't buy it.
19:54There is a difference between
19:56foreign and Moroccan productions.
19:58Yes, there is.
20:00Thank God, we have a difference.
20:02But there is development.
20:04There is continuous development.
20:06Thank God, there are technicians
20:08who work with foreigners
20:10or who work in local productions.
20:12Thank God.
20:14Did you work with foreign directors
20:16and stars?
20:18I was in contact with
20:20Marion Cotillard.
20:22She was the director
20:24of the film
20:26Le Dernier Vol.
20:28She helped
20:30the nomads of Erfoud.
20:32She was the director
20:34of the film.
20:36Guillaume Canet.
20:38I met him at the Moroccan festival.
20:40Dante Lam.
20:42Dante Lam is a director
20:44from China.
20:46His friends came to help
20:48the directors.
20:50Are you familiar with
20:52these professions?
20:56It depends.
20:58Everyone has his own career.
21:00You know what you want.
21:02You live your life.
21:04What are the upcoming projects?
21:06The next film
21:08will be
21:10about trade
21:12in China.
21:14I want to write
21:16about it.
21:18I hope
21:20it will be a good film.
21:22What can we expect
21:24from you
21:26in the next film?
21:28You will produce
21:30international films.
21:32It is not far.
21:34There is a partnership
21:36between Moroccan actors
21:38and the Gulf countries.
21:40Everything is close.
21:42It will be soon.
21:44Will it be filmed in Morocco?
21:46We are in the process
21:48of creating a logline
21:50and cultural consultations.
21:52It will take
21:54two or three years.
21:56Is it your next project
21:58without a film?
22:00No.
22:02It will be shot with
22:04the Moroccan TV.
22:06It is still under development.
22:08It is a cinematic film.
22:10I want to
22:12identify it
22:14as my own film.
22:16It is my background.
22:18I will continue
22:20with it.
22:22Do you have time
22:24to sit down
22:26and tell us
22:28what you learned
22:30from your previous works?
22:32I have a program
22:34that I decided
22:36to give a break
22:38and support
22:40my family.
22:42It is the first support.
22:44My parents
22:46and my wife
22:48are the ones
22:50who support me.
22:52Life is about
22:54how you deal with it.
22:56You have to pay attention
22:58to your parents.
23:00They are the ones
23:02who support you.
23:04Life is about
23:06how you deal with it.
23:08You have to be patient.
23:10You will get what you want.
23:12You don't have to
23:14worry about everything.
23:16This is an important message.
23:18We rarely hear about it.
23:20You are an artist, director
23:22and actor.
23:24You have to be patient
23:26and be patient
23:28so that your audience
23:30can understand you.
23:32They have to get close to you
23:34and communicate with you.
23:36The artist's life
23:38is a private life.
23:40At the same time,
23:42you have to create a balance
23:44and not forget
23:46that you have to give
23:48from your time to the audience.
23:52My next question
23:54is why do you
23:56work in this field?
23:58What do you want?
24:00I want to be safe
24:02and live a happy life.
24:04I thank God
24:06because I work
24:08in a field
24:10that I love.
24:12Anyone who works in a field
24:14that he loves
24:16will be happy.
24:18He will never be sad.
24:20Thank God,
24:22I am happy
24:24and the rest of the people
24:26will be happy too.
24:28You started with a routine
24:30and ended with a psychological relief.
24:32We can say that
24:34the Moroccan family
24:36is a film for everyone.
24:38The elderly, the young,
24:40the wife, the mother,
24:42the couples, the angels
24:44and all the teenagers.
24:46The film for everyone
24:48has a strong cinematic language
24:50and beautiful messages.
24:52You can watch the film
24:54with your family
24:56before you watch the film.
24:58I was keen to be
25:00in the film with the screenwriter
25:02Majdouri El Idrissi.
25:06And don't forget
25:08the amazing production
25:10Connexion Media.
25:12This is the last word.
25:16Good luck.
25:18We reached the end of today's episode.
25:22See you next time.