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“Only artists from this country receive money”


“Only artists from this country receive money”

Asad Zaman is one of the few screenwriters who work regularly at Dhallywood. He is also a builder. He came to busy Sarabangla office. He was interviewed by the editorial editor of Sarabangla Ahmed Zaman Shimul

What is the name of the movie “Jao Pakhi Bollo Tare”?

We have a lot of constants about love here. I love you means you must love me too. But in our film, we tried to express this point of view in a slightly different way. Tell me a little story, one day I said to Manik Bhai (Mostafizur Rahman), if I want to tell the story of Shiri-Farhad, Laili-Majnud now, how should I tell it? He really liked this question. From this place, the journey of ‘Jao Pakhi Bollo Tare’.

Did you name it after the famous folk song or after the movie story?

Of course according to the story of the film. The person who is in someone’s heart may not be told to love that person for whatever reason. So it seems, is! For me, if someone told the man! If I had a bird, I would tell it, or maybe I didn’t even have to tell it – it would tell the person in my heart or in my soul – of my love, of my love for it. It bears the name of ideology, philosophy or point of view.

Mahi and Adar have already worked on your scripts. How would you rate their performance with this photo and all?

I’m more optimistic about love. He works very hard. The most important thing is that this movie is made from a landmark of Adar. The extent to which Adar was enthused by the character of Majnu – unbelievable! I am very happy and at the same time surprised that the only actor in this film can memorize every dialogue exactly as I wrote it.

How did the others – Mahi, Apu, Shipan Mitra?

Apu bhai is a talented artist. From this place, Fazlul did very well in the role. I have never worked with Shipon bhai before. But as far as I know, he did well. About Mahi, like everywhere else, the heroine performed here. He did pretty well, the audience said too. I also think he did well.

From ‘Jannat’, you worked in many films with Mostafizur Rahman Manik. A good understanding must have been created by working for so long. I want to hear the story of this understanding

Manik Bhai leaves a lot of freedom in the writing. What is not seen in the case of many directors. This gentleman gave me immense faith and a space to work in every film. After each script, he has a few observations as a director. We worked on it. It is a pleasure to work with him.

“Paran” and your film are both romantic stories. Has this film activity affected your film activity?

I don’t know if it was abandoned. But the love story shown in ‘Paran’ is completely different from ours. You can say our story is “more than pure love”. This love has no requirements, no conditions.

There are so many images of suspense stories, series around. From there, your simple romantic story film gave or will give people a comfortable place?

Of course, there is this place. The most important thing is that I heard a song that I didn’t know – No No, No Love. The truth is that there is a huge lack of love in society. Because of what thriller gets higher priority than the love of storytelling. Thriller means something happening around a crime. But what society or the state needs most are healthy relationships. I think ‘Jao Pakhi Bolo Taare’ will definitely act as a new spark for moviegoers.

There are stories in society that don’t happen at all now, especially stories about family relationships. If we talk about the recent drama ‘Family Crisis’ is a family story, everyone liked it. Do you not offer such stories to directors, or do they not want them? Do the directors really want more stories from you?

Here is a mathematical explanation. The first difference between fiction and cinema is financial. Movies cost several times more than dramas. Investors are therefore thinking about the safest way to withdraw my money. That’s why they usually work inside of them, which happens more at the time. Which films are doing well around the world or in neighboring industries? Then the number of people will decrease automatically. It’s a big problem. Therefore, you cannot make movies of different genres even if you want to.

My question was, don’t you offer it to the directors, or do they tell you to give such and such a story? What’s really going on?

Such a thing is not only here but I think it is all over the world. The director of the romantic genre has in mind to make the next film in a more romantic story. Or suddenly it occurs to him to make action films. Then some suggestions automatically come to mind.

Go tell the bird the story you told him.

I have a philosophical understanding with Manik Bhai. We always only discuss movies or personal matters, not that. We also have philosophical discussions. I didn’t say at first, how Laili-Majnu would look like when they were born – a question that was always swirling around in my mind. How they behaved, how their love was expressed. I haven’t seen them. If I want to tell the love between them in a cinematic story of this time, how will it happen? The purity of their love is incredible. Which is unimaginable at the moment.

This means that according to you, the current love is impure! What is the basis of this statement?

Today’s love is “consumer” love. When I fall in love with a girl, I start thinking how beautiful she is. After knowing a bit more, it comes to my mind how bad the education or social status of the girl is. How much wealth and money does the girl’s father have? I’m not talking about all the boys but most of them work on the head. There are also such things in the case of girls. The boy must be too cute. Shahrukh or Ranbir type look? Or this boy has a bicycle or a car. The boy’s father has a house in Dhaka. That’s why I call the modern consumer love. And the love we found between Laili-Majnu or “unconditional” Shiri-Farhad is doubtful if you’ll get one out of ten crores!

What is the definition of love for you?

It should be open. If only I could open my mind. Where my honesty, my dishonesty, my hypocrisy, my limitations, my illness, my accomplishments, my income, all will be open to another human being.

Your screenplay “Jannat” won the National Film Awards in five categories. There were rumors that you would also become a screenwriter. But when did not get, surely felt bad?

It was bad. More importantly, this is my very first script, my second. Optimism was born when everyone said: you get the National Film Award as a writer. People who say this are untested and give false information. When in the end it didn’t happen, if I say that I suffered, it’s true. But it taught me. It was very important to me and I was very lucky to have it at such a young age. Since this incident, I believe the national award is far away, I don’t feel like any award in the world. I don’t want to receive prizes. If I get it, it’s even better if I don’t.

Your production “Jalghadi” could not be screened in cinemas across the country and at the Dhaka International Film Festival due to lack of censors. But the film was sent to various international film festivals and won awards. In this case, can’t we say that there is in a corner of your mind a subtle fascination for the reward?

Infatuation actually works for rewards, not recognition. Every artist wants to be recognized for their work – it’s innate. Simply put, I may not be a high-end artist, but an artist! I also need this recognition. But I have a different understanding and education with world cinema. But it makes me happy when it is officially selected in several festivals or when it gets the prize for the best action film in Jharkhand.

“Jalghadi” was about thirty-first years old. Due to which the censorship board did not give permission. Do regrets work? I couldn’t properly show my first child to the public?

Unfortunately, I wanted to screen the film at least at the Dhaka International Film Festival. Because I have a responsibility towards those who worked on my film, the artists, the technicians. Everyone knows that the film is made for the big screen. It was also screened on the big screen at various film festivals. It was so frustrating when he couldn’t appear for the sensor.

What goes through your mind when you sit down to write a script for a movie – how would I do it if I was a director? Or since most scripts are for commercial films, business is more in mind?

First of all, writing screenplays for film or television is quite technical. If you’re not good at it, you can write stories but not screenplays. Technical knowledge means how to shoot a scene. Does it correspond to the previous scene? This knowledge must be there.

At university level or in TV and film institutes, there is no good place to study cinema in our country. How much do you feel the lack of good organization in your work?

It’s sad for us. Also for the next generation to come. Moreover, this lack has not been filled since independence.

How satisfied are you with the honor given to screenwriters in our industry?

In other countries, there is a split between the share of the film budget that screenwriters receive and the share of others. We don’t have that graph here. As far as anyone can understand. I don’t know how it sounds, only artists from this country get decent money. No one else, not even the director, gets paid well.


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