مدي 1 تي في : مع المخرج علي المجبود - 26/03/2025
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00:00Hello and welcome to a new episode of Talkshow Ramadan Al Fanny and daily patchwork Ramadan.
00:21We are happy to be with you daily.
00:23Today we will talk about cinema and TV shows.
00:27We will have a guest for today's episode.
00:29Stay with us.
00:35Welcome to the guest of today's episode.
00:37He is the director Ali Mjboud.
00:39Hello and welcome.
00:42How are you?
00:43I am fine, thank God.
00:45Congratulations on the success of the show Rahman.
00:49How did the adventure start?
00:52The adventure started with Bouchra Malak and Raja Hassani, the producer.
01:01The idea came from Bouchra Malak and Raja Hassani.
01:09I met them.
01:11They offered me to do a production with them.
01:15It went well in terms of production.
01:20I liked the idea.
01:25I went on the adventure with them.
01:29It was a great experience.
01:36Do you have anything to say about the casting?
01:40Bouchra told me in many interviews that he put a lot of thought into the production.
01:52I think it is very touching.
01:57I told him that I have an idea for the casting.
02:01The producer has an idea for the casting.
02:04I will do the casting.
02:07It is a team effort.
02:09I was not against the casting.
02:12Some people don't know me.
02:14I told them why not.
02:16It is a team effort.
02:18Everyone has a role to play.
02:21What did you say in the script?
02:25The director might change something.
02:29Yes, a lot of things have changed.
02:33I have a good connection with Bouchra.
02:39There are things...
02:41I don't know what the script is like.
02:43I don't know what the script is like.
02:45If the script is exactly as it is, it is impossible.
02:52It is a modelling job.
02:55Sometimes you have to think.
02:57I don't know.
02:59There have been a lot of changes in the production.
03:03It is what makes a series or a film.
03:07Ali, you have a lot of ideas in the production.
03:11You have a lot of ideas.
03:16The sequence plan is not always written.
03:19No, it is not always written.
03:21I stay with the idea of the scene.
03:27I add something or change the point of view.
03:31It is a story of point of view.
03:33Sometimes you have to change the way you do it.
03:38If you like it or not, you want to change the character.
03:42The script can't be an essential bible.
03:47I am also a screenwriter and a director.
03:52I have to write my own projects.
03:55There are a lot of changes in the production.
03:59I think the changes are good.
04:02There are also incidents.
04:05Sometimes you have to shoot here.
04:07It happens.
04:09You have to change the sequence.
04:11You have to change the parameters.
04:13You have to change it.
04:16The sequence plan is good.
04:18There are directors who don't know how to do it.
04:23There are a lot of sequence plans in this series.
04:27I like the sequence plan a lot.
04:32For different reasons.
04:34First, it is the heart of the production.
04:36The production.
04:38The life of the play.
04:40It is not the play.
04:42On the contrary, it is a different play.
04:44When you watch a Moroccan series,
04:48it is the play.
04:50It is not a film play.
04:52You put the camera in front of you.
04:54You shoot.
04:56Action, cut, action, cut.
04:58This is a film play.
05:00The sequence plan is based on a point of view.
05:02The actors.
05:04First, the actors have to sing.
05:11But there is choreography.
05:14The technicians have to give a challenge.
05:19There has to be a sequence plan.
05:21At the end of the sequence plan,
05:23the whole team has to work together.
05:25Everyone has to work on the same plan.
05:28If you make a mistake,
05:30you have to start all over again.
05:32If the sequence plan is successful,
05:34the team will be united.
05:39At the same time, you have to work on the sequence plan.
05:41You have to think about the script.
05:43You have to think about the play.
05:45There is a kind of realism that I find very interesting.
05:47The casting is based on the sequence plan.
05:50You can rely on the actors.
05:52They will give you a clean shot.
05:56Another issue is the camera angle.
05:59We have seen this technique in many films.
06:02When we see a frame, we see it like this.
06:05But sometimes, the frame is like this.
06:08It depends.
06:10Sometimes, you can't feel it in the sequence.
06:15Again, this is what we say.
06:17We see this everywhere in cinema.
06:20There is an imbalance in the emotional sequence.
06:27I try to represent it in the staging or in the framing.
06:32It is true that a large part of the series
06:38is framed.
06:40It is done on purpose to isolate the character.
06:42It is done to create an empty space
06:44where you can feel the main character.
06:48So, the frame is expressed.
06:52It is like a stylus camera.
06:55The frame expresses the inner feeling of the character.
07:03Many directors take two shots in the sequence.
07:06In your case, you took 22 shots in the sequence.
07:09No, not always.
07:11No, it is not like that.
07:16It doesn't mean that you stop.
07:18It means that you are a perfectionist.
07:20It means that you take your time.
07:22On the contrary, I don't take my time.
07:25It is not always 22 shots.
07:29Sometimes, I take my time.
07:31Sometimes, I take my time.
07:33I take my time in the sequence.
07:35When you watch a sequence,
07:37you see that the emotions are not easy.
07:41So, you have to take your time.
07:43Sometimes, the emotions are too much.
07:45You have to take your time.
07:47You have to take your time.
07:49So, it takes time.
07:51Sometimes, the actor can't get into the sequence.
07:53It is difficult to get into the sequence.
07:55It is true that technically,
07:57it is complicated.
07:59Sometimes, it is difficult.
08:01Technically, it is not easy.
08:03So, it makes it a bit complicated.
08:06But, it is like I explained.
08:09There is industrial work
08:11and there is artisanal work.
08:13When we do a job,
08:15we don't do industrial work.
08:17We don't do action,
08:19cut, two shots, three shots.
08:21I think it is a shame.
08:23It is a shame that today...
08:27I don't want to say anything
08:29because it is already complicated.
08:31But, it is a shame that
08:33a lot of production companies,
08:35a large majority,
08:37what counts for them
08:39is at least 100 euros.
08:43But, thank God,
08:45I look at the comments right now.
08:47I am very happy because
08:49the Moroccan people, yes,
08:51they watch, I know.
08:53They have Netflix,
08:55they have Egyptian series.
08:57But, I can't say...
08:59So, it is very good.
09:01So, these are the people who work.
09:03I hope that one day...
09:05And this is why, Ali,
09:07we see that during Ramadan,
09:09there are only two people
09:11who go out and try to wear the right clothes.
09:13The others don't take their rights.
09:15Yes, because how many series go out?
09:17And how many people reduce the audience?
09:19This is just a question.
09:21How many people go out and reduce the audience?
09:23But, I think that
09:25we, as directors,
09:27or technicians,
09:29or librarians,
09:31we have to do our job.
09:33I have heard people say
09:35that you are crazy.
09:37We don't make cinema.
09:39No!
09:41We do a job,
09:43we have to do our job.
09:45It's like when you watch TV,
09:47you go back to gold.
09:49No, I watch TV, I go back to gold.
09:51It's the same job,
09:53it's just the format.
09:55Netflix is cinema.
09:57It's cinema.
09:59Cinema is not a question
10:01of the size of the screen.
10:03Cinema is the content,
10:05how you tell a story.
10:07We can go to that level with TV.
10:09Of course.
10:11Anyway, this is the future.
10:13We are not going to fight against the wave.
10:15The future is the platforms.
10:17This is the series of Arhama.
10:19It was filmed two years ago.
10:21Was it supposed to be released last Ramadan?
10:23It was filmed last Ramadan,
10:25but there were complications.
10:27I am not a big fan of this series.
10:29I know that
10:31it was filmed two years ago
10:33and then it was sold
10:35behind my back.
10:37Sometimes you don't know
10:39when it will be released.
10:41Sometimes we don't know
10:43when it will be released.
10:45Sometimes we don't know
10:47when it will be released.
10:49The main thing is that the series
10:51deals with an important issue.
10:53There are details
10:55and shots
10:57where we see that the father
10:59doesn't have to be very nice
11:01to his daughter
11:03because his daughter is being
11:05abused.
11:07There are beautiful scenes
11:09where you understand
11:11how to dress a woman.
11:13You can dress well,
11:15you can wear a dress,
11:17you can wear a skirt,
11:19and you have the opportunity
11:21to deal with an important
11:23social issue.
11:25Yes, the beauty of Bouchra's script
11:27is that it deals with
11:29all these issues
11:31that exist in our society.
11:33And above all,
11:35the beauty is
11:37that Rahman is a hero.
11:39He is a hero
11:41and a result.
11:43He is the hero of everyday life.
11:45A hero that we don't see.
11:47But he is a hero.
11:49Sometimes you see him
11:51on Instagram.
11:53He is a man
11:55who does
11:57garbage picking.
11:59He goes to his daughter
12:01and she is happy
12:03with him.
12:05I don't think people know that.
12:07Yes, I don't know.
12:09He is the hero of the family.
12:11He is so touching.
12:13When you see him in the car,
12:15he is a hero.
12:17But what's behind the character
12:19is what's extraordinary.
12:21He gives value to people
12:23that we don't see.
12:25Because we want to give value
12:27to the garbage that we create.
12:29We want to give value to people
12:31who have money.
12:33We want to give value to people
12:35who have villas.
12:37But the value is much deeper than that.
12:39We want to give value to the things
12:41that we see.
12:43He has a lot more impact
12:45and human value
12:47than another guy
12:49who negotiates
12:51daily actions.
12:53I don't want to say
12:55how good his actions are.
12:59Your music has a role.
13:01It has added personality
13:03to the series.
13:05Especially in one of the scenes
13:07where we feel the music is a bit anxiogenic.
13:09It increases the dramaturgy of the sequence.
13:11I don't work with Adil Eissa.
13:13The second time I worked with him.
13:15The third time because we did
13:17Kaza Strip, Ahlan Banat
13:19and Moussa El-Seldiar Rahman.
13:21So,
13:23I admire him a lot.
13:25Adil Eissa is a very good composer.
13:27A really excellent composer
13:29and artist.
13:31So, I gave him a bit
13:33of everything.
13:35I don't want to make a series
13:37with traditional music.
13:39I want to go for something more synthetic.
13:41I really liked
13:43Sebastien Tellier's music.
13:45I wanted to work with him.
13:47He made me proposals.
13:49He composed.
13:51I don't even remember how many songs
13:53he composed for Moussa El-Seldiar Rahman.
13:55On top of that,
13:57he did the mixing for Moussa El-Seldiar Rahman.
13:59He is an incredible guy.
14:01It was a great discovery
14:03at the end of the project.
14:05Do you have anything to add?
14:07I can't say anything but smile.
14:09It's such a pleasure.
14:11Do you think you are intelligent or naive?
14:13I don't know.
14:15I don't know.
14:17But this is instant.
14:19There is no logic.
14:21He lies to you.
14:23He tells you that he has logic.
14:25You feel it.
14:27It's a feeling.
14:29It's an emotion.
14:31You are not human anymore.
14:33You are in a kind of delirium.
14:35You feel the emotion.
14:39It's instinct.
14:41It's not rational.
14:43There is no rationality.
14:45At least not for me.
14:47Didan?
14:49Didan is something else.
14:51You have to calibrate his character.
14:53Didan is a jumper.
14:55He has to be careful.
14:57He jumps.
14:59You have to be careful.
15:01Rahman!
15:03He has to be careful.
15:07You say he is a coach.
15:09He says that he is a jumper.
15:11You don't say that.
15:13But Didan is an extraordinary guy.
15:15He is an amazing actor.
15:17He is a great artist.
15:19He is a great artist.
15:21He is very funny.
15:23You are laughing.
15:25I am laughing at the jumper
15:27than at what is behind the screen.
15:29I'm going to explain a quiz to you, the goal is not to edit it, the goal is for you to answer correctly.
15:37This quiz has two questions and you have to answer one of them correctly.
15:43Happy end or bad end?
15:47Bad end.
15:49Wow, I didn't know that.
15:51Should I use a camera or a fixed camera?
15:53It depends on the question.
15:57It depends on the question.
15:59It depends on the question, it's difficult.
16:01A fixed camera.
16:03The one that makes the composition.
16:05A fixed camera is difficult.
16:09Salah bin Salah or Malka Akhmis?
16:11Wow.
16:15Salah Akhmis.
16:17I knew it.
16:19Yasin Fennan or Youssef Regab?
16:21I can't answer that.
16:25Yasin Regab.
16:27It's impossible.
16:29Do you have preferences?
16:31No, I have preferences.
16:33I don't know.
16:35I don't know.
16:37It might hurt some people, but it's useless for others.
16:39Yann Kounen or Gaspar Noé?
16:41I know them, but I don't know them.
16:43Gaspar Noé from far away.
16:47Koen or Dardenne?
16:49Koen.
16:51Rosetta or Calvert?
16:53Calvert.
16:57Rosetta.
16:59I hesitated.
17:01Smoking Aces or Kill Bill?
17:03Kill Bill.
17:05Taxi Driver or Apocalypse Now?
17:07Apocalypse Now.
17:09Hayna or Ahlan Banas?
17:11Hayna.
17:13Rahma or Sa'af Al Jaheem?
17:17Rahma or Sa'af Al Jaheem?
17:19Sa'af Al Jaheem.
17:21Why?
17:23Because of the editing.
17:25Because of the editing?
17:27Yes.
17:29Or because of the editing.
17:31Sa'af Al Jaheem came before you.
17:33Yes, it's true.
17:35It's true.
17:37It's true.
17:39It's true.
17:41It's true.
17:43It's true.
17:45It's true.
17:47It's clear.
17:49It's clear.
17:51Rahma.
17:53Rahma or Hayna?
17:55Rahma.
17:57Dallas or Vague Blanche?
17:59Dallas.
18:01Dadas or De Niro?
18:03Dadas or De Niro?
18:05Wow.
18:07People can answer in French.
18:09I think people can answer in French.
18:11They are good.
18:13They are good.
18:15I think we have a lot of questions for you.
18:17I think we have a lot of questions for you.
18:19De Niro, thank you so much.
18:21De Niro, thank you so much.
18:23Taxi Driver is one of your best films.
18:25Taxi Driver is one of your best films.
18:27It's about the Apocalypse.
18:29Yes.
18:31Yes.
18:33We make a film every time.
18:35We make a film every time.
18:37We make a film every time.
18:39There's no preference.
18:41There's no preference.
18:43It's a mood.
18:45It's like music.
18:47When the film is good,
18:49you can watch it.
18:51But every time you watch it,
18:53you watch it in a different way.
18:55Dallas won a lot of awards.
18:57Dallas won a lot of awards.
18:59It was your first feature film.
19:01It was your second feature film.
19:03I don't know.
19:05It's an open question.
19:07I know you have projects and screenplays.
19:09I know you have projects and screenplays.
19:11We have projects.
19:15We are still discussing it.
19:17We have projects.
19:19We have projects.
19:21Maybe something for cinema.
19:24Maybe something for cinema.
19:26But we need to find a solution soon.
19:28Was it about time or the production?
19:30But we need to find a solution soon.
19:32But we need to find a solution soon.
19:34But we need to find a solution soon.
19:38Do you have any project?
19:40Yes, of course.
19:42You said you don't work in the cinema industry.
19:44What about television?
19:46Inshallah, yes.
19:48How is the production going?
19:50How is the budget?
19:52To be honest,
19:54I had the means.
19:56That's why I'm very happy.
19:58The means were laid on the table.
20:02There were all the cameras,
20:04the equipment, a very good technical team.
20:06In any case,
20:08I'm very happy with the result.
20:10The sets,
20:12honestly,
20:14the filming weeks,
20:16because usually,
20:18there are a lot of production boxes
20:20that take nine weeks,
20:22sometimes eight weeks,
20:24which is scandalous.
20:26I think it's scandalous.
20:28I don't understand how it continues
20:30to work like this.
20:32Then we compare it to the Americans.
20:34The Americans say,
20:36it's normal when you do one.
20:38There are 15 sequences in one day.
20:40So, alhamdulillah,
20:42at least there,
20:44we were within the standards,
20:46a little more than the standards,
20:48to do, alhamdulillah,
20:50what we had to do.
20:52Is it possible one day to see
20:54The Hour in Hell in the cinema?
20:56It's possible, of course.
20:58The Hour in Hell, the long version?
21:00Yes, but The Hour in Hell,
21:02the long version,
21:04I don't understand The Hour in Hell.
21:06It takes only one story,
21:08whereas The Hour in Hell,
21:10what we have to do,
21:12there are a lot of stories.
21:14It's what you give that sweetness,
21:16that sweetness.
21:18But a single feature film,
21:20it's like a normal feature film,
21:22it's 12 hours, but it's a feature film.
21:24Whereas I think The Hour in Hell,
21:26the sweetness of it,
21:28is the story of the story.
21:30It's not like SNRT gives us the green light,
21:32and we don't want to say it.
21:34They did The Hour in Hell,
21:36once again,
21:38and I'm talking about SNRT,
21:40and all that.
21:42It's that it allowed us to bring
21:44new actors.
21:46There are a lot of people
21:48who are in the same place as The Hour in Hell.
21:50A lot of them.
21:52It allows us to renew ourselves,
21:54to bring new actors,
21:56to impose new directors.
21:58The Hour in Hell is not just one season.
22:00It's a season after The Hour in Hell.
22:02When we have a big scene,
22:04or every episode,
22:06the performance is new.
22:08At least in the first seasons.
22:10But I don't think
22:12that a season of The Hour in Hell
22:14would be so much expected from the Moroccan audience.
22:16We have to do something
22:18even crazier,
22:20God willing.
22:22Let's go back to The Hour in Hell.
22:24In the last episodes,
22:26there was a bit of an extension
22:28of the events.
22:30There wasn't a big event.
22:32Did you promise us
22:34that there would be a big event
22:36in the next episodes?
22:38Yes, I think that in the next episodes
22:40there will be
22:42a bit of a surprise.
22:44Now it's normal.
22:46You don't have to go back and install the intrigues.
22:48You don't have to install the relationships
22:50between the characters.
22:52We're on a format of 30-34 minutes.
22:54It's normal.
22:56But it's going to start
22:58with a violent start.
23:00Really?
23:02Yes.
23:04I know you're not going to marry me.
23:06Yes.
23:08And you're not going to vote for me.
23:10I can't answer that question.
23:12There's something like that.
23:14I don't know.
23:16I don't remember.
23:18I don't remember.
23:20Let's see.
23:22I'm going to start.
23:24I'm going to start.
23:26Congratulations on the whole team.
23:28The production team,
23:30the production team,
23:32the production team,
23:34the production team,
23:36the production team,
23:38the technicians,
23:40all the people who worked on the project.
23:42all the people who worked on the project.
23:44I'm very happy.
23:46I'm very happy.
23:48Thank you very much to the Moroccan audience
23:50for being with us.
23:52You read the comments.
23:54There are very touching things in the comments.
23:56You find a lot of people
23:58saying they want to come back to their lives.
24:00So it's a pleasure
24:02to be in the club.
24:04It's the most important thing.
24:06Thank you very much for coming here.
24:08Any last words?
24:10Congratulations.
24:12It's almost the end of Ramadan.
24:14It's almost the end of Ramadan.
24:16Keep supporting
24:18the Moroccan cinema,
24:20the Moroccan music,
24:22and the Moroccan art in general.
24:24Thank you very much to the Moroccan audience.
24:28This is the end of today's episode.
24:30Thank you to the technical team
24:32and the artists.
24:34Thank you very much.
24:36See you after Ramadan.
24:48See you after Ramadan.