Hello, hello, hello. The book club program has begun. What does cinema and literature have in common? This is a question I want to ask from the head of the Firm and Nakt magazine who is a guest of this program. Dostoyevsky, a famous Russian writer, has a famous sentence about Google, a writer of his own country, who says, We all came from Google's Chanel.
He knows Russian literature in a way that Nikolai Gogol and one of his stories are called Chanel. A person should be found in the world of cinema and make the same sentence with the name of one of Alfred Hitchcock's films. For example, he said, we watched the cinema from the window behind Hitchcock. Or, for example, Hitchcock was the one who made us the director of the cinema.
Of course, there is no definite answer to say who was the greatest filmmaker in the history of cinema. But the name that has been repeated many times in different theories is Hitchcock. Why do we want to present our program to Alfred Hitchcock?
Because, without a doubt, he is one of the most storytelling filmmakers in the history of cinema and one of the best storytellers in the language of photography. When he took the story of the film from a book and when he made the story himself. So, let's present the storytelling master in the language of cinema. To Alfred Hitchcock Signed, Ketabaz Mr. Masoud Ferasati, welcome to Ketabaz.
Thank you. I don't have to introduce you. This is good that you don't need to introduce me.
This is your first edition. Before I say this, let me say one thing. I haven't been on TV for a long time.
You thought people forgot about you? No, no, no, no From 7, I mean from 7 months ago to now I invited different shows I didn't go But the writer said come, I came The reason is The book and then you The movie I didn't go to a movie show A TV show I invited him, I didn't go But the writer said come I didn't go We are in a very interesting place Thank you Do you remember where we first met? First time? Yes I remember Where? In the library The library is a school for children and teenagers 20 years ago, every morning You would go behind a table and I would go behind another Is that right?
Totally Do you remember me? Totally I swear We knew each other from the library What is the definition of form and money? You are the editor, the narrator and the collector of the material and the author of it. I am the editor and the director of the film. The editor is someone else and the magazine that has 100 cinema pages.
100 pages of literature All of them are negative There is no connection Your work is not connected There is no connection In this magazine that is negative And has no connection There is a meaning with this title Why literature? Why story? Why negative?
This is my question to you Well I hope The literature department answered this question, but I will now answer it in its entirety. I think that literature is more important to cinema. Really? Yes. Why?
Literature's ability... And its connection to human is much more than cinema. Literature makes us more human than cinema.
Literature makes us more familiar with ourselves and our ancient world. Literature does something that no other medium can do. It imagines and imagines.
Cinema can't, music can't even, and no other medium can, as far as literature is concerned. That is, someone who comes to me and says, I want to write a novel and find out what the news is, I say, go read a novel. If a person's background is a novel, a classical novel, a Persian, an Iranian, a classical Iranian literature, it will definitely go further until this background is empty.
As long as... The young generation today, the Toman generation, now before me, literature was a We read poetry, we read novels, I remember the last poems we read in the meetings on Wednesdays and Fridays at home, a few children, and books, and Maybe my main background is in the fact that I understand imagination to a certain extent. I think that people who haven't read Dostoevsky, Chekhov, Pushkin, Proust, Hemingway, or Faulkner, have a very different commitment.
And the people who read these books correctly, I think after two decades I am reading literature again. And we had literary I think that the topic of form, which is the title of this magazine, Form and Rejection, and I am obviously a form-reading person in Iran, I have learned a lot from that. What I like about it is that when someone translates a feeling into a language, this is a form.
Can you explain what this is? Let me explain this, because it takes a little time and it's hard. I will mention one point. I usually say, we don't read novels, let's talk about today's generation. And behind us is empty.
I think that without a novel, imagination is not a job. Imagination is not a trained imagination. Imagination is not that we are transformed. One cannot experience all life.
and the experiences of all these people. But the novel changes these experiences for us and becomes our part of the song if we read it correctly. It means to learn the whole of reading. Not to read and say what was it?
No, it doesn't matter what it was. We believe what it was. All the folk talk you asked is the same.
What was it like? When the story ends here, I'm not talking about a serial or a film. Nothing is in the heart of the person who is in love with you. When the person is in love with you, the eyes are in the heart of the person who is in love with you. I know you are always in love with someone who is in love with you.
But if we combine these two things, what is the difference? It is important to know what was what. I think this is the first step.
When we say what was what, we mean what we are referring to. But when we say what was what, We are saying this democracy for all the people who say whatever they want to say, but they should be aware of it, but they should say it correctly. Just because they said it correctly, now the debate is just beginning.
But those who have many valuable claims, many religious claims, many philosophical claims, and how they don't have them, their claims are in the air. What are they talking about? When they are right, they talk. Now, if we want to continue with your previous discussion, what is the difference between man and other beings that have been created?
Some say it is work. Human beings exist to describe work. They describe work. Some say it's just words.
I'm a little more than that. I say it's a story. People are described by stories.
A person who doesn't have a story is not a human being. And a person who is not interested in a story is not a human being. And death is on his head. Remember Shahzad.
Shahzad took a story into a story. Reality in reality. That death is behind the door. Death said either tell a story or die.
And he told that story. The story I told is not only about imagination and the end of man, but also about the story of the death of man. It is a life story, the beginning of life. Now you understand why I say literature is more important than cinema And if I like cinema, I will definitely like cinema In the language of photography But the words and the voice are more You can't translate what is written into photography You can't You can't translate the words of Hafez into a picture.
You can't. Many of our human feelings are depicted in classical literature. They are not understood.
And I think that no medium can cover another medium. Each medium is independent, has its own form, and has a specific purpose. Which is to translate it in a negative way. And I think that literature is a very important medium. The world is changing.
We are growing. The imagination is growing. It opens our eyes.
It makes us more gentle. It makes us harder. And it makes us more prepared.
To fight to the death. I will die The things you said were great You said both things next to each other Next to each other You said that the story makes people more delicate The story makes people harder It's very important if we think about life, we need to be careful and safe. Right? Of course. You've been very happy Mr.Ferasakhi.
Thank you very much. Let me bring you a cup of tea and a cup of coffee and we'll make it happy again. Which one would you like? I want coffee. No, tea.
I am a teacher and I am in charge of reading books. My friendship with books was from my childhood. I read most of the cartoons that I saw.
It was very interesting for me. For example, in that book, I read Pinocchio at the age of 8 or 9. It was interesting for me. The cartoons that I see are more... I wanted to read his books. It was a special experience.
And then I tried to read more books. I have a lot of interest in his books. Since I was a child, I wanted to read more about history.
And now, when we talk about history in school, I was more interested in his books. Children come to buy books, and I take them to choose a book. I don't know much about books of fiction and fiction.
He loves to read books. Arif has read books before he came to this world. Really?
Yes, he's a bookworm. He's been reading books since he came to this world. Was this a gift for your father or mother? Both. Both.
What did you choose? I used to read books since I was a child. I used to buy books for myself.
I didn't have anything else. I used to get money from my hands. Everything changed to books. I had a passion for books.
Before I met the world, I bought books for myself. Then I started reading from a young age. I became interested in books. Now I read books a lot.
I read all the books. The lessons are good. In the youth, she took part in more... I started reading books about the history of the world. We wanted to reach our own peace, which we had previously in our minds.
And now, what has happened is... This is the people's desire. When people come in from the inside, they appreciate the books that are sold in their city, or that they have a complete collection of books. And nothing else pleases us more than that. People are happy and this positive energy is what makes us happy.
We don't get our money from it. We only get it from the positive energy that people give us in relation to book sales. Mr. Fersati, my next question is about one of the topics of this chapter.
You have a topic about Virginia Woolf. How should we read books? It's a masterpiece. If you didn't read it, you'll call me tonight and say, It's so hot. It's so hot.
Mr. Farhadi, how should you read a book? Oh, it's very difficult. A person should train himself to read a book. Well, tell us.
I think he shouldn't have chosen it first. I can't choose? No, no, I said it first, not second.
First, don't choose. A good literature book, when it comes to you, read it. Good.
If the book is not bad, I'll give you an example. This book... The story of Zendayat Ahmad Mahmoud is a great one. I recently read Zamin Sookhtash, one of the books that I had in my hand. It's a story about a city I read.
I know a lot of it. I read Zamin Sookhtar. It's about war.
Thank you. It's about the first three months of war. What I and you, I mean, I'm saying this myself, we know. But from the first line, it's like you don't know anything. The radio starts, they went to the ground floor and they heard the people's words and they believe the words.
What are the words? We heard that someone has hit a bomb. We heard that Iraqi tanks came.
That's where he says the people's words. It's like that time is the beginning of the year 59. 59. 59. And you are in the middle of the South and it's the beginning of the Arab Spring and us. Well, this book is so powerful in the sense that you feel like going forward. You don't let it stop you. You go one step forward.
You know people. You make a move. Mahmoud believes that the book of Romans is a description of the world.
And movement is not in description, it is the movement itself. If you want to say that it was hot and how it was cut, Balazag-e-Bahr, which is very famous, or it was a private room, no one says this. But in this movement, he shows you how hot it was to see Amrou and he is talking and then his chest is so hot that he is throwing it.
The description of the novel is something very close. I will read a few lines later. I learned these things from my students.
It's part of our next issue. The second issue we're preparing. It says, The definition of movement is not the definition of things or objects. It's not even the definition and description of places. Rather, it's the definition of movement.
The novel is alive. In the novel, the pulse must be in the moments of natural and unnatural things, in the human being and in his words. If it is necessary and the nature of the story is to make it happen, then the beating of the pulse in the place of the count will happen. But if the beating of the pulse is done without reason, the story will fall apart.
And if it is stopped, the story will not end. So the story must beat its pulse. All of them are movements. And this movement sometimes helps a lot in creating the atmosphere and creating the conditions of the situation. The way of people.
It's very theoretical. And very simple. Merci.
It's very theoretical. And it's very correct. When he says that the novel should play its role, everything I say is in the format of a review and before that The fact is that the effect is present in us and the effect is present in life. The existence that has been created by its owner, its author but it is alive and autonomous it is self-reliant like it is very similar it was very strange for me Hemingway says yes Hemingway says we should remove the description from the story we should act with the story and the story and the story to make us the characters and the recommendations Yes, but I think that Hemingway is a friend and the old man is a man of the sea In the introduction of the old man and the sea, Mr. Najaf Daryavandai a good translator he explained it completely But I think Mahmoud Aghabtar is a bit in this discussion Hemingway? He is in this discussion I have an important question and that is We just talked about people who had a very extensive life experience Faulkner, Hemingway, Ahmad Mahmoud But we have Saadi and Hafiz in our classical literature Saadi who went all over the world and Hafiz who left Shiraz once Yes Can you always write in the form of a need or in the form of a self?
I can't write in the form of a self It's a poem, but it's not a novel. Until you've gone to a certain place, until you've taken something with you, it doesn't make sense. Renoir, whom you and I love and know, says, If I put a cup of coffee in the background, I should have had coffee with it before.
That's all. I know that Mr. Jafar Modar-e Sadeghi, when he wanted to write the book of Dida in Halab, he went to Halab and spent a long time in Halab, in the market, in the city, he breathed the air of Halab and then came Dida in Halab. Now, when he hasn't gone, well, he won't come back.
Now, when he has gone, what happens next? When he has gone, he must turn this reality into a reality. It means to dramatize. It means to dramatize the space, the place, and the human being. It means that it is not enough to see with the open eye.
After that, we should understand literature. And understand that now this confusion should happen. From the real reality to the real reality. With this very important process.
We have one more part of the conversation left. And I have ten questions. What do you do? Mr. Farisadi, why is there no change in Iranian cinema?
And what are the things that can be changed? And what are the things that can't be changed? Well, this is a long discussion. Let me just say something about the change.
There is no change. Easy. Explain the problem. Yes. What does it mean?
I said in the previous conversation that you were aware that there is no translation from one medium to another. This has its own specific form and that has another form that is based on that. This is one.
Two, you read a story and if you are a believer in it, the medium is in your hand. Because being a believer in it is one medium. If you are not sure about it, then what is it?
It is an inspiration, a passage to it. Bazaar Farini Now the language is the same as you said. But I want to say, one, from my point of view, two, what does the Iranian cinema have that is not relevant?
What does it have? Nothing. Three, that the world cinema is also a problem. You can't find a better way to be serious than if the director has made the story together. For example, you saw the movie, the first of the movie, the story of two French men that Hitchcock has told the whole story.
And it became the director of Hitchcock. The director of Hitchcock is not in any medium. It cannot be imagined, felt, or done.
It is the medium itself. I think the cinema medium is the exhibition. It cannot be more than that. So this sentence that many people say that when a mistake occurs, you accept the balance between weight and stone. They say that the book of the first degree Some say it doesn't turn into a 1-degree movie Definitely And 1-degree movies are not made from 1-degree books Thank you Let's take Kurosawa for example Kurosawa is from Shakespeare Rashomon's movie and book are both good I have a different opinion Rashomon is not a good movie You like the story It's a good story but the cinema is bad My story is very formal.
Let's go to Kurosawa. Kurosawa turned Lier into Ashub. It is obvious how he did it. Shakespeare's last chapter was a metaphor for him. He never went and found a story in his own culture that is close to Shakespeare.
Lier of Shakespeare. And he knows the plot of the movie, he understands the Japanese form, and he has already thought about the cinema, and he has felt that it is a good movie. I remember that I didn't see you in the library for the first time.
I remember the first time, you don't remember, but I do. I came to one of your classes in the Faculty of Cinema and Theater where you were analyzing the Haaks and not the Haaks. It was a great class. And you said something there. You said that this Haaks movie is better than Hemingway's book.
It's definitely better. And better than Wagner's Basel. It's a very good movie.
And you were saying that this word is stronger than the image. But you know better than Hemingway's book whether he had a movie or not. I know better than Hemingway's movie because it's not a good thing. But it's a good thing.
Yes, it's a good thing. And you can use the words in the words that are in the script. No one can do that in cinema. Cinema is very abstract.
It's a very objective speech. Both objective and subjective Meaning, the two dimensions of the image Which are the two dimensions of objectivity Are not good You say a word with a word Translate it as a word I said the same things I think the power of words is much higher Some people say that a person who uses images Modernism is not a concept. I think modern people don't have a definition.
Modern people should be able to see without a concept. Seeing without a concept is not modernism. And it is expected with words.
It means to be both objective and subjective. This statement, which is a statement from one to another, definitely has the middle of the word. Actually, without the middle of the word, there is no experience in the work.
Well, whatever I said, you added something to it, so I will add something. And it is expected even with listening. Definitely.
And with touching. And with the smell... And with the smell of the other.
Now, the smell of the other, we have to remember that the smell is also a form. The smell is also a form. Actually, the world is a form.
No, don't leave it out. Because with this... Yes, it's not a chance. Let's go to some other questions. From the writers about your relationship and from the books about your relationship, which one...
I want the audience to know what Masoud Ferasati's suggestions are for reading. Of course. I said in the first part that I would like you to read novels.
Read classic novels. Read Dostoevsky. Read Chekhov.
Read Pushkin. Read Google. It's very Russian. Google is right.
Google. Google. American.
Hemingway. Steinbeck, Faulkner, Melville Does Melville have a story? Bartleby the Innocent Yes, Bartleby the Innocent He is so terrifying so calculating that every day he has to work with you Well, which medium can work with me every day? The literature behind it, the music of my childhood Music has always been my job In our own Iranians, Gholam Hossein Saedi is the best of my generation Bahram Sadeghi, Jamal Mir Sadeghi, Ahmad Mahmoud The reason I like him is that he has read and heard the literature of the past in a serious way In the words and the information But he doesn't steal.
He doesn't copy. What? Are you against stealing?
Not against stealing. I'm not against it. Mr. Ferasati, thank you very much.
So many questions and words. I hope you will come to our program again. I hope so.
You said on TV that you won't come and I came this time. I hope you come again. I will come with you.
Wow, it's great. It's great. Thank you.
A great person from the literature... Choose a Persian adab to remind us of our ancestors. Please tell us. I'll choose Sawad, my dear.
I believe you have a friend. Ferdowsi. Why did you choose Ferdowsi? I think... The culture of Iran in literature is very bad.
Very bad. Mr. Ferasati, we have a wish for this program. The people of Iran should become the most literate people in the world. I hope so. Is there any wish?
I don't like it very much. What should we do to make people read more books? They should read. Instead of playing with the internet, instead of the mass media, they should go to the world of books. And we, as a group, have to read and praise him.
And he has to do other things for you. Let's make another chapter. If you have the chance, please come to our show again.
Thank you very much. I will take a picture with you to remember that you are in our show. Thank you for being in the show.
Thank you. Thank you very much. Thank you. Thank you for watching this show. Thank you very much.
Goodbye.