Interview with Yalkin Tuychiev and Azizbek Mannopov: I Should Be Questioning People Instead of Answering Them

Yolkin Tuychiev was born in 1977. He graduated from the Artwork Institute of Tashkent and from the Faculty of Directing of Moscow. In 2004, he co-directed “The Tulip within the Snow” with A. Chakhobiddinov, introduced on the Cannes Worldwide Movie Competition. In Vesoul, The Supply received the Jury’s Particular Point out in 2007, P.S. the Golden Cyclo in 2011.and “2000 Songs of Farida” the Particular Point out of the Grand Jury.

Azizbek Babaek is the producer of “2000 Songs of Farida”, and in addition a member of the NETPAC Jury through the 2022 FICA Vesoul.

We communicate with them concerning the basic idea of the film and the cinematic method carried out, love and want, Tarkovsky and the filmmakers of at present, the Uzbek movie trade, and lots of different subjects

What was the inspiration for the story of the film?

Yalkin Tuychiev: My inspiration on this case has a destructive connotation, since I used to be in lots of festivals and I used to be watching and absorbing Central Asian cinema, largely Iranian cinema. My basic impression of these movies is that they’re “sellers of previous carpets”. As a result of primarily they speculate with this geographical tradition, the colours and general environment and the way they present them, focusing solely on the issues, and presenting their characters solely as victims, depressing individuals dwelling onerous lives. For me, movie is about having a dialog, not simply displaying and coping with an issue. For those who report the issue you’ll be able to present it in an actual excessive technical degree, superbly, however this isn’t cinema for me, it’s extra about how I see the state of affairs as an entire. Seeing how most movies of West Asian cinema are, I wished to do one thing totally different. 

The protagonist of the story has many wives. Is {that a} notion primarily based on actuality? 

Yalkin: Sure and no. Males up to now may have solely 4, however not 5, it was forbidden (laughter). However a lot of them discovered methods to have 5 and extra.

Azizbek Mannopov: On the whole, the story is an authentic one, there is no such thing as a factological base, however the idea of this excessive army officer dwelling in a distant space together with his 4 plus one wives is feasible. 

Are you able to give us some particulars concerning the many songs which are heard all through the film? 

Yalkin: It’s my inventive resolution how I labored with the music, and generally, how I contemplate music as a part of cinema. The songs are a part of the circumstances of this explicit state of affairs, they aren’t for “ornament”, they’re a part of the motion as a result of it’s this lady who’s singing the songs.

Azizbek: The entire songs heard within the film had been written by Yalkin. 

Is that this why the songs are in the identical quantity with the voices of the actors?

Yalkin: Generally, I play with this notion, however generally, sure, that’s appropriate. 

Concerning the cinematography of the movie, regularly you will have the viewer feeling as if peaking on the motion? Why did you select this method?

Yalkin: Clearly, I used to be not there in that specific time interval and can’t know what was taking place generally, how individuals had been dwelling for instance. I wished to provide the viewers the sense that they’re coming into the setting slowly and delicately, addressing what is going on with out pushing. That is my type of narration, determining what is going on together with the viewers, that’s the reason I selected the actual method. 

For my part, when the protagonist realizes that the child is just not his, he appears like he’s not a correct man anymore, and this causes his downfall primarily. Is that what you wished to point out? 

Yalkin: It is a very difficult query. You’re proper that he realizes it’s not his child, however the necessary factor right here is that he truly knew from the start of the film, not after this occasion. This was the explanation he introduced this woman from town and knew that this lady may have a child for him, however he nonetheless had the ambition to point out that he’s in a position, that he’s a person. This incapability to make a toddler, to create a future primarily, was the explanation for his perspective. Individuals on the time thought like that, when looking for the reply to the query of who we’re. They had been so targeted on their ambition and they didn’t understand when the massive factor got here and swiped their complete lives methods. That is sort of ironic truly, he’s attempting to create the longer term, however ultimately, the longer term kills him. As a result of he can not admit that he’s not in a position to have a future. 

It appears to me that the one he likes probably the most is Ginger. Why does he preserve the others although, okay perhaps Dalida as a result of she will bear him a toddler, however what about the remaining? 

Yalkin: Let’s be sincere, at the moment, dwelling in that world was too powerful for girls with no husband. A lady would in all probability starve with no husband. So he retains them, not as a result of he wants them however as a result of they’d not survive in any other case. In Saria, a person can have 4 wives however he’s obliged to feed them and preserve them wholesome. He retains them, not as a result of he loves them however as a result of he cares about them. Primarily, they will dwell extra freely in that specific setting than by themselves. That’s the reason Ginger says concerning the newcomer that she is ruining their peace. 

Azizbek:  As a result of there was lots of battle taking place between tribes through the center ages, and survival, significantly for girls. That’s the reason he feels the duty to handle them, even with out marrying them. 

Is that why they appear to like him? 

Yalkin: They respect him slightly than love him, as their carer, however I assume this can be a kind of affection. On this significantly society of ours, it’s a very delicate query, as a result of there are various kinds of love, of caring, of affection and girls can love in a romantic or sexually approach, how Ginger loves him. However they don’t categorical it, as you’ll be able to see within the film. 

Ginger although, appears to like him sincerely. 

Sure, she does. She particularly, loves him on this romantic approach. 

For those who continued the film, what would occur to the ladies? 

They might carry up me, him, an entire technology (laughter) 

Other than the peaking component, what was your function within the visible facet of the film? 

Yalkin: I used to be inclined to relate about magnificence, each case is gorgeous, each jealousy is gorgeous, each separation is gorgeous, each human feeling is gorgeous initially. So for me, the previous will all the time stay stunning, that’s the reason I shot this movie in a stupendous approach. I attempted to point out how stunning these individuals had been intentionally, regardless of the issues they’d, regardless of the small ambitions they’d and the truth that they’re blind to what’s taking place on the planet. That’s the reason for me it’s tragic, I really feel pity for my previous as a result of the individuals of the time had been stunning however their destiny was like that. That’s the reason I selected to painting them like this. 

Azizbek:  It’s shot realistically, however the best way it’s shot is by specializing in magnificence, even the filth right here is sort of stunning. 

Yalkin: That is my perspective in direction of the previous I assume. I additionally need to point out that as a result of I wished to painting the previous realistically, I attempted to discover a slim actor, simply as males had been at the moment, as a result of hunger and famine, perhaps with the exceptions of individuals like judges or emirs.. Nonetheless, it was troublesome to search out one, as a result of they’re all fats now, they eat on a regular basis. 

Why is that although, why are the actors fats in Uzbekistan? 

Because of marriage events, we now have big ones in Uzbekistan, for a thousand individuals every now and then, and actors are coming and performing, and consuming rather a lot throughout them. 

So, what was the casting course of like for the film? 

Yalkin: There was no casting, as a result of I already knew who I wished to play the components. For instance, I knew that I wished Yulduz Rajabova to play Ginger. The one drawback was the position of Kamil, as a result of we couldn’t discover a skinny actor. Ultimately, I noticed on Fb that Bakhram Matchanov is in Tashkent, as a result of he’s truly dwelling within the US. He’s an American now, however initially from Uzbekistan, and I talked to him and he took the half finally. . 

And your cooperation with them, do you enable improvisation for instance, or are you very particular with what you ask, do you do lots of rehearsals?

Yalkin: I begin with the studying first and the rehearsals, create the mise en scene, after which communicate with the actors. Generally I additionally act as a way to clarify to them what they need to do. 

Do they like that? 

Yalkin: I don’t care (laughter). Lots of my movies find yourself in festivals, one thing that doesn’t apply to different Uzbek movies, that’s the reason each actor trusts me as a substitute of improvising. 

The film calls for unwavering consideration from the viewer, as a result of lots of issues are both implied or introduced by means of very transient scenes. Why did you select this method, why not create a neater movie let’s say? 

Yalkin: I had some challenges with this film, as a result of I need to have a dialog, not present myself, I need to talk, that’s the reason I’m approaching the movie as I’m; perhaps I’m a sophisticated individual. I learnt to shoot that approach within the Soviet college. In any case, I don’t assume that Bresson is really easy both. 

Contemplating that is your eighth film, how do you are feeling you will have modified as a director because the starting of your profession?

Yalkin: I used to be younger in my first film, simply 23, and I had not but considered the issues I present in “Farida”, as a result of it was a interval of mine after I studied in Moscow and the movie wave that included Tarkovsky and Parajanov, amongst others, was the very best for me. Additionally Bergman for me was an enormous affect, and Kurosawa. There are totally different intervals of fixing, as a result of to start with I assumed the film belonged to actors and I introduced the story by means of the actors, however then I assumed that crucial issue is the idea, after which I ended up with a mixture of story and actors specializing in emotion; I used to be too emotional. Now, I feel crucial factor is the inventive expression of how I see the world, how the world comes to seem on display screen. I shouldn’t present the issue, however the inventive resolution of the issue. I ought to be questioning individuals as a substitute of answering them as a result of I have no idea what’s dangerous and what’s good for the individuals. I have no idea something, as a result of we’re mortals and we all know nothing about eternity. I feel that I ought to supply the chance to viewers to view the problem.

For me, it’s a very powerful time for cinema now, as a result of on this competition, for instance, I noticed the strangest factor, and in addition in European and Iranian motion pictures, that they aren’t motion pictures per se, however an intense quantity of issues. Individuals displaying up with issues than the inventive resolution of those issues. Individuals come to the competition for exhibitional causes, however I can not see or really feel the soul of the flicks. It’s unhappy, and you too can see this concern in Russian and West Asia, the place we undergo from it too. Russian motion pictures are so dangerous now, they’ve turn out to be faceless, as a result of Americanization of the tradition. They’d lots of stunning administrators, however they’ve turn out to be faceless now, I have no idea what is going on at alt. That’s the reason I selected this film type, as a result of I shouldn’t clarify every part, I ought to narrate what I feel is necessary. I’m not serving to anybody, I’m attempting to talk and have a dialog. Each director now appears to be serving to the viewers, and for me is hard, as a result of I used to be taught in one other approach. Cinema is artwork and I really feel that I’ve to create artwork, not current a efficiency

Don’t you assume, nonetheless, that the older we get, the extra we are likely to glorify the previous and be judgemental of the current? 

Yalkin: Sure, undoubtedly, however there may be the reality additionally. For instance, Tarkovsky or Kurosawa had been higher than the present filmmakers, their requirements had been a lot greater. We can’t simply swipe every part and simply showcase with an inexpensive gross sales pitch. Primarily, individuals are getting too low-cost, this sorts of issues have turn out to be too intense. It appears that evidently each Asian is a sufferer now,  they can’t current their id as it’s, simply as victims. 

Do you assume, nonetheless, that cinema can have the identical impression now, because it had within the period of Tarkosvsky and Kurosawa? 

Yalkin: I don’t know. It’s unusual that at their time, a few of these masters had been perceived as “small”. Tarkovsky was not thought-about a large of cinema for instance. Individuals realized it in a while, and it’s bizarre the best way he affected filmmaking. I don’t need to say there aren’t any impactful filmmakers at present, however it’s troublesome to evaluate who they’re. For instance, Lanthimos, with “The Lobster”, he’s actually good, he’s somebody who can nonetheless shoot a film, I can simply admit it as a result of his motion pictures are really stunning. There are nonetheless actual motion pictures, however they’re very scarce. 

What’s the state of affairs with the Uzbek film trade? 

Azizbek:  It’s a very unusual factor concerning the native film trade. It’s massive, lots of motion pictures are being produced, greater than 50 however we aren’t displaying them. The federal government actually helps the trade, giving some huge cash for native productions, however the motion pictures usually are not displaying wherever. There’s a cinematic neighborhood, let’s say, and these filmmakers are displaying their movies to one another, they don’t care about the remainder of the world. 

Yalkin: The worst of this case is that we’re presenting lots of productions, however these usually are not actual motion pictures, there is no such thing as a inventive resolution in them. That’s the reason a movie like “Farida” is just not perceived nicely in Uzbekistan, the movie screened within the nation however not many had been . 

Are you engaged on any new tasks? 

Yalkin: I’m about to complete a undertaking now, however I don’t need to discuss it extra till I end.

When do you assume you’ll end?

Yalkin: I ought to have completed… yesterday (laughter) As a result of it’s funded by the federal government, and I used to be presupposed to have submitted it one month in the past  

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