مدي 1 تي في : مع محمد باسو وربيع شجيد - 06/11/2024
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00:00Hello and welcome to a new episode of your daily and artistic patchwork show.
00:19I'm happy to be here with you every day to share with you the latest news and the latest developments in the field of art.
00:25Stay with us and let's start.
00:31Hello again, I'm Dany Mchieh and today we're going to find out what happened to our guests in this episode of La Bande A Nasse.
00:41You're a coward, a coward, and you're not a man.
00:44You're a djinn.
00:45Can you answer me, you dog?
00:47Yes.
00:48You only have a hundred pieces of paper, gold, and diamonds.
00:51What do you do?
00:52What do I do? I'm a djinn.
00:53I'm a djinn.
00:55The most beautiful djinn in the world.
00:58You know you're going to make me hold you?
01:00You don't want to be with me anymore?
01:04Bye bye, man.
01:06I want the book to be here in 48 hours.
01:07I want the book to be here in 48 hours.
01:08I want the book to be here in 48 hours.
01:12The brother is a djinn.
01:14No, the brother is a djinn.
01:15But the brother is a djinn.
01:17Oh my God, I love your hair.
01:20Give me back the book.
01:21I'm not allowed to take anything from this place.
01:23I'm a djinn.
01:27I'll tell the boys that we're here.
01:28Give me your book.
01:29I don't have any money.
01:37Brother, what brings me here?
01:38I'm angry.
01:39I'm going to give you 150 million.
01:41On this special day…
01:45I swear to God, I will kill you anytime I want.
01:48No one can stop me.
01:49What are you so upset about?
01:50Why do you look so upset?
01:51Are you angry?
01:53I'm not going to eat.
01:54I'm not going to eat.
01:55I'm not going to eat.
01:56God forgive us and forgive us our sins.
01:59Georges Diouf is here with us.
02:01He is one of the main characters in this film.
02:03He is the screenwriter, screenwriter and director of the film.
02:05Basou, welcome.
02:07I was able to do a little bit of production.
02:09We were able to get a little bit into the film.
02:11A little bit.
02:12I was able to do a lot of things.
02:13Anyway, I am happy to be here today.
02:15Don't worry.
02:16Cinema.
02:17No, no. Don't worry.
02:18Welcome, Basou.
02:19We also have the director of this film,
02:20the cinematographer, Rabih Shajid.
02:22Welcome.
02:24Thank you for the invitation.
02:25Welcome.
02:27Your wedding is tomorrow.
02:28Hello.
02:29Your wedding is tomorrow.
02:31I'm still celebrating my wedding.
02:33It's still cold.
02:34I'll start with you, Basou.
02:35Thank you for having me.
02:36No, no.
02:37You're welcome.
02:38I'm a real man.
02:39You're the head of the family.
02:40By the way, you and your husband have a direct and indirect relationship with the media.
02:41Let me talk to him.
02:42I'm alone.
02:43I'm alone.
02:44You're alone.
02:45I'm alone.
02:46He's alone.
02:47He's alone.
02:48He's alone.
02:49He's alone.
02:50He's alone.
02:51I'm alone.
02:52I'm alone.
02:53I'm alone.
02:54and I ask him, how do you live life now?
02:56And he answered that everything is fine with me
02:57and the show is not for me
03:00as far as I know, the show is not for me
03:02what happened in the year 2019
03:04and he answered that everything is fine
03:06and I said to him, you play the music all the time?
03:08I don't know now
03:10I know he's a movie star
03:12but you're not doing what you were told
03:14you have a gold spoon
03:16I don't know, I'm just here to watch the show
03:18and not to watch someone else's show
03:20because the program is for ladies
03:22Coke Studio, Lalla Al Arousa, I don't know how to pronounce it in Amr's CV.
03:28So we attacked him.
03:29Hello guys, welcome to Patchwork's set.
03:33How did you come up with the idea and how did you work on the production of this film?
03:38The idea came about because it's part of a real story.
03:43In 2006, I was transcribing a book from Tamukrut's library, the Nasiriyah library.
03:48And from that book, I started to think that this story would be good.
03:53And I started to imagine that the book would be about a jinn coming out
03:57and fulfilling people's wishes and desires.
03:59It would be about a lonely person.
04:02And I started to explore that idea.
04:04Until 2004.
04:05In 2024, I started to write the film.
04:08I was very lucky to meet the director, Rabe' Shajid.
04:12It was a great honor for me that this film would be released in this way.
04:17How long did it take you to write and produce the film?
04:20We were able to produce the film in two years.
04:23Because the script was written in the first and second versions.
04:26And I met Rabe' Shajid, the director.
04:29We had a lot of new ideas.
04:31And I felt that this was the final touch of the film.
04:35It's very beautiful.
04:36There is a touch of Rabe' Shajid.
04:37No, there isn't.
04:38He doesn't want to say it, but there is a touch of him.
04:40Say it.
04:41There is a touch of Rabe' Shajid.
04:43And it showed in the choices, in the sets, in everything.
04:47There is an extra rhythm in this film.
04:49The audience is not bored at all.
04:52And this is reflected in the technical and artistic team.
04:55But let's start with your first meeting.
04:58Where did Basso come to present the project to you?
05:01Basso, in 2024, this was the project.
05:04We had agreed to work on it together.
05:07We didn't work on it in the cinema.
05:09It was a film in the cinema.
05:10We never presented it as a project.
05:13In 2024, this was the project.
05:16I read it.
05:17I read it and it was beautiful.
05:20The story, the idea, how it was written, the dialogues, the messages.
05:25I told him, Andy Roche, I think it will succeed.
05:32It has to be in existence.
05:34So we decided to turn it into a project.
05:37And when we turned it into a project, what did we find?
05:39We started the preparation.
05:41We decided to add a bit of drama to it.
05:46It is a beautiful thing in Basso.
05:49We started preparing it today.
05:51We decided to keep it for a few days,
05:54until the version is ready.
05:56It took us 24 hours to find the version.
05:58We said, what can we write about it?
06:00What can we write about it?
06:01What can we write about it?
06:02It is 2019, what can we do?
06:04We had an important issue with Rabih.
06:06He is a witness.
06:08He had a successful program, Silkala.
06:11You wrote it after the film.
06:14Silkala, yes.
06:16We filmed it at the beginning of the project.
06:19You didn't interfere with the project?
06:22No, I didn't.
06:23I have an issue in the book,
06:25I don't want to think about it in the morning,
06:29to write a script.
06:30I have the idea in my head.
06:32As I said, you gave me time to think about it.
06:37It is not an easy task.
06:39But when I started writing it,
06:41it became easier for me.
06:42You don't have to come to me and say,
06:44we have to write a script for the Suhoor.
06:47You have to have an idea,
06:49and then you think about it,
06:51and then you watch it,
06:53and then you write it.
06:54What are the rituals to write a script?
06:56Do you isolate yourself?
06:58Do you do the Zagora?
07:00Or do you stay at home?
07:03No, I don't isolate myself.
07:05I stay at home,
07:06because I can't think about it,
07:08and then I write it on the table.
07:10This is what distinguishes me.
07:13But the opposite happens sometimes.
07:15No, it's not the opposite.
07:16I can't go back to my house and write a script.
07:18I have to have an instinct.
07:21I have to have an instinct.
07:23This is what distinguishes me.
07:25An artist is not an ordinary person.
07:27An artist, a writer, a poet,
07:29you can't ask a poet to write for you.
07:31It's impossible.
07:33He has to come with a context.
07:35A contemporary context.
07:37A social context.
07:39If you go back to old poetry,
07:41you always find it related to a specific reason.
07:44A defeat, a victory in a war.
07:46Something you saw in the market,
07:48you liked it, and then you come.
07:50You have to be a comfortable person.
07:52God bless you.
07:53Do you have anything to say about this?
07:55No, I don't.
07:58Give me your hand.
08:00No, I came with my friends.
08:02I came to talk to you.
08:04I came to talk to you.
08:06My friends are smiling.
08:08Just to be clear.
08:10My friends, for the audience.
08:12I don't know what to say.
08:14My friends, a person,
08:16despite his great artistic energy,
08:18despite his great artistic energy,
08:20despite his great artistic energy,
08:22despite his great artistic energy,
08:24a person, as they say,
08:26although we are all different,
08:28although we are all different,
08:30he went away.
08:32He went away.
08:34Alright.
08:36We've worked a lot today with him.
08:38We've worked a lot today with him.
08:40He has a good cash.
08:42Let me take some money from him.
08:44I hit someone in 2017,
08:46I hit someone in 2017,
08:48I hit a guy in 2017,
08:50I hit a guy in 2017,
08:52and I took the money.
08:54He is a producer.
08:56Among the actors and actors of the film, there are Osama Ramzi, Zubair Hilal, Osama Bistawi, Karima Gheit, Ilham Qaraoui, Didan.
09:08MashaAllah!
09:10There are many actors.
09:12Ilham Wajiz, Suad Hassan, Fatima Bouchan, Khadija Aloush.
09:16Zubayl, Zubayl, Nanah.
09:20Congratulations.
09:24Rabih, what was your opinion about the casting?
09:28It is normal in a film to propose a casting.
09:33But in my work, I want to stay with the actors.
09:40With Basso, with Laprod.
09:42I propose and discuss.
09:45It is normal for a director to propose a casting.
09:51But there are proposals.
09:53Sometimes, I don't think about them.
09:55I forget about them.
09:57There are proposals.
09:59They are beautiful.
10:01I don't think about them.
10:03There is no selfishness in choosing.
10:06There is an open discussion.
10:08There is an open discussion.
10:10We want the project to succeed.
10:12We work together.
10:14We work together.
10:16What is beautiful in this work
10:18is that the first three actors,
10:20Fadila Taha and Rabih Shajjidou Basso,
10:22are very close to each other.
10:24In their ideas.
10:26In their artistic ideas.
10:28When Rabih proposes something,
10:30we immediately agree to it.
10:32When I propose,
10:34we are very close to each other.
10:37There is no selfishness.
10:39The secret of a successful work is
10:42that it doesn't make you feel small.
10:45It gives you time to listen to other people's opinions.
10:49Your vision is unique.
10:51Today, I can't make you laugh
10:53in my own way.
10:55Another person can't have a unique vision.
10:58So, there is a consensus.
11:00As we say, a new star.
11:02As we say, the participation of Boulmany,
11:05of Bestaoui, of Naneh.
11:08Naneh, Mashallah.
11:10Was Basso someone you wished
11:12he was in the film,
11:14but he didn't win?
11:18He didn't win.
11:20No, it was a casting.
11:22It was a casting.
11:24Because people are servants,
11:26you have to replace them.
11:28It's not disponible.
11:30It's not disponible.
11:32You have to replace them.
11:34After that,
11:36it's not disponible.
11:38What did Basso say to you
11:40in the editing?
11:42He should answer.
11:44I want him to answer.
11:46He knows me well.
11:48Rabih knows me well.
11:50Look,
11:52I can tell you
11:54that what I had inside
11:56was the scenario.
11:58The way I played,
12:00the logo, my clothes,
12:02the place where we filmed,
12:04this is what I told him.
12:06Look, the choice of clothes,
12:08the decorations.
12:10One day, I wrote
12:12and imagined the scenes
12:14in Zagora, in Tamgrout, in Dior.
12:16When I went to the show,
12:18I was upset for two days
12:20because the director said no
12:22to all the decorations I imagined.
12:24We had to go to Zagora
12:26and come back
12:28to convince him with other decorations.
12:30In the end, they chose the decorations
12:32because the choice of decorations
12:34had to match the beauty
12:36of the decorations,
12:38the light, the atmosphere,
12:40where the cameras were.
12:42These things were not available
12:44to me as a screenwriter.
12:46I imagined the scenes in Dior,
12:48but Dior didn't have a director.
12:50So, everyone had to stay
12:52in their own beauty.
12:54The beauty, the technology,
12:56and the editing.
12:58One thing we did
13:00when we met
13:02for the first time,
13:04was that I won his trust.
13:06I watched his scenes
13:08and his vision.
13:10He liked it.
13:12He said,
13:14the vision is like
13:16we are in the same place.
13:18So, I had to win his trust.
13:20That's how I started.
13:22You are serious.
13:24I was going to say
13:26that you are a good actor.
13:28I was going to say
13:30that you are a good actor.
13:32In editing,
13:34of course,
13:36you have to share everything.
13:38In the first version,
13:40I liked it.
13:42I won his trust.
13:44Now, I am going to watch
13:46the second version.
13:48I hope you like it.
13:50It's a good strategy.
13:52You have to win his trust.
13:54You have to win his trust.
13:56Are you going to watch the final version?
13:58I am not going to watch it.
14:00I am going to watch the full version.
14:02For me, it's the movie.
14:04It's the movie and the third version.
14:06It's the first scenario.
14:08It's the first version.
14:10After that, we are going to shoot the film.
14:12The third version
14:14is going to be different.
14:16It's going to have a different rhythm.
14:18It's going to be in post-production.
14:20So, I am going to watch it.
14:22I am going to understand the movie better.
14:24I am going to understand
14:26what we are going to shoot.
14:28Thank God,
14:30all three projects were successful
14:32in terms of post-production.
14:34For the soundtrack,
14:36it's important.
14:38We heard the songs,
14:40and the mixing is going well.
14:42Can we say that the soundtrack
14:44is similar to what you filmed
14:46in Zagora,
14:48Temgrout.
14:50The songs are not the same as in the movie,
14:52but it's a modern song.
14:54Yes, it's a modern song.
14:56By the way,
14:58the village of Traibs
15:00is one of the children of Zagora.
15:02They are from our region.
15:04They work in the international sector.
15:06They are the ones who brought the country
15:08together.
15:10They brought together
15:12the good and the bad.
15:14They gave it a modern look.
15:16It came with the mood of the movie.
15:18Glory be to God.
15:20The day we filmed the movie,
15:22it was the first time
15:24that I discovered this music.
15:26It came with the rhythm of the movie.
15:28It's a beautiful music.
15:30It expresses
15:32the thematic.
15:34You are in the middle of the desert,
15:36in the dunes,
15:38in the villages of the region,
15:40and you hear this music.
15:42It's a beautiful music.
15:44The first pre-release was in Zagora.
15:46Yes, in Zagora.
15:48Glory be to God.
15:50It was a wonderful atmosphere.
15:52There was a great reception.
15:54We were surprised.
15:56I'm not lying to you.
15:58People came out.
16:00It was a celebration.
16:02Yes, it was a celebration.
16:04There were young children
16:06who discovered cinema for the first time.
16:08There was a 50-year-old
16:10who discovered cinema for the first time.
16:12He was so happy.
16:14We were the first ones
16:16who discovered cinema for the first time.
16:18Our friends came with us.
16:20Adnan, Rida, Adil Tawil,
16:22and Tarek Rzouki.
16:24They were happy.
16:26They liked the atmosphere.
16:28It was a special event for us.
16:30I'm not lying to you.
16:32The first pre-release
16:34was in Krasi Hajar.
16:36It honors the region.
16:38Yes, it honors the region.
16:40According to my information,
16:42a lot of footage was lost
16:44during the pre-release.
16:46Yes.
16:48Because of the quarantine.
16:50You can't watch a movie
16:52for two or three hours.
16:54But how did you make
16:56these difficult decisions?
16:58I think Rabih's domain
17:00knew from the beginning
17:02that he shouldn't have
17:04raised the kid on the set.
17:06We didn't waste a lot of time.
17:08We wasted an hour.
17:10Because of this sentence.
17:12Say an hour for the producer.
17:14An hour for Netflix.
17:20An hour for editing.
17:22It was difficult.
17:24But I tried
17:26to convince
17:28the producer.
17:30I tried to make them forget
17:32about the sequence.
17:34So that they don't think about it.
17:36But it was a whole thing.
17:38I told them
17:40that the objective of the movie
17:42is for people to watch it
17:44and laugh at a gag.
17:46A gag that they don't hear.
17:48I told them that
17:50it's a good thing
17:52to make people laugh
17:54but they don't hear it.
17:56So they should watch it again.
17:58Yes.
18:00Thank God,
18:02it didn't happen.
18:04At the time,
18:06you were the main actor
18:08and you made a gag.
18:10People were laughing
18:12but they didn't hear it.
18:14Yes.
18:16I told them that
18:18I cut a lot of footage.
18:20I told them that
18:22it's a good thing.
18:24He's trying to trick you.
18:26He's trying to trick you
18:28to share it with you.
18:32As Rabea said,
18:34I learned a lot
18:36from this movie.
18:38For me, this movie
18:40was a lesson.
18:42A lesson in writing a script.
18:44A lesson in artistic vision.
18:46A lesson in rhythm.
18:48Rabea and I
18:50used to say
18:52that we might have the ability
18:54to write a gag
18:56that doesn't make people laugh.
18:58But in rhythm and situation,
19:00when you watch it,
19:02you get convinced.
19:04You don't have the rhythm.
19:06You don't have the lines.
19:08You don't have the beauty.
19:10You don't have the beauty.
19:12You don't have the beauty.
19:14You don't have the beauty.
19:16It's not easy.
19:18But it's all for the dynamic.
19:20It's all for the dynamic.
19:22In the end,
19:24the audience needs a comedy movie.
19:26They don't want to do it
19:28with lines.
19:30They want to do it
19:32in a different rhythm.
19:34They don't want to
19:36replace the lines.
19:38So, the movie is really
19:40in rhythm and rhythm.
19:42That's why I mentioned it.
19:44There's no script
19:46that makes people laugh
19:48and has an ending.
19:50It's the most popular
19:52selection of Moroccan movies.
19:54It's a gag and at the same time
19:56a marketing for the movie.
19:58The movie is currently in theaters.
20:00It's a national duty
20:02for you to watch it.
20:04First, you have to watch it.
20:06Second, you have to laugh.
20:08Third, there are a lot of meanings
20:10and messages in the movie.
20:12Fourth, you have to support
20:14the cinema and the national art.
20:16I know that you've been through
20:18a lot of difficulties
20:20since you were young.
20:22Can you tell us
20:24about a young man
20:26who came from a poor family
20:28and he has to work hard
20:30and focus on his dream
20:32and achieve it.
20:36I believe that
20:38a person has a lot of energy
20:40inside him.
20:42You have a lot of energy
20:44and you decide what to do
20:46and what to not do.
20:48You have to be patient
20:50and fight
20:52to achieve something.
20:54You have to be confident.
20:56I don't know what to say.
20:58Thank God,
21:00from the beginning,
21:02there were a lot of jobs
21:04in my life.
21:06I worked as a comedian
21:08and then I worked as a dancer
21:10for two or three years.
21:12I did a lot of things
21:14that led me to where I am today.
21:16I worked in a university.
21:18I worked as a sketch artist
21:20and I worked as a TV presenter.
21:22I learned a lot
21:24to get to where I am today.
21:26I am still ambitious.
21:28I am not satisfied
21:30with what I have achieved.
21:32I have a lot of dreams.
21:34I hope that the next generation
21:36will be like me.
21:38I don't know.
21:40It's good that young people
21:42are listening to you.
21:44After the film,
21:46young people feel the energy
21:48they need to work hard
21:50and achieve something.
21:52Ambition and hope
21:54have no geographical location.
21:56They don't know people
21:58and their ambitions.
22:00They don't meet people.
22:02You are the one
22:04who has to turn everything upside down.
22:06Rabih, when you became a director,
22:08was it possible to see you
22:10as a journalist?
22:12At the beginning,
22:14I was a journalist.
22:16I got a journalist's diploma
22:18and I started.
22:20Why did you become a journalist?
22:22I was a journalist.
22:24I was a journalist.
22:26I was a journalist.
22:28I was a journalist.
22:30What kind of projects
22:32do you have other than cinema?
22:34I have TV projects.
22:36What kind of programs?
22:38I have TV programs
22:40and films.
22:42I have TV programs
22:44and films.
22:46I have TV programs
22:48with TV channels
22:50and BBC.
22:52I have worked with many TV channels
22:54and I have learned a lot
22:56from them.
22:58I have learned a lot
23:00from them.
23:02I have learned a lot
23:04from them.
23:06I have learned a lot
23:08from them.
23:10I think it is the best thing
23:12to be a director.
23:14I think it is the best thing
23:16to be a director.
23:18Listen, I don't agree with his documentary.
23:20Don't we need speculation?
23:22No no,
23:24this guy is a specialist.
23:26He is the best.
23:28What do you think about it?
23:30I don't know what will happen
23:32after the documentary
23:34But cinema will still be
23:36as good as it used to be.
23:38But cinema will still be as good as it used to be.
23:40But cinema will still be as good as it used to be.
23:42Not a dramatic film
23:44Can it be the movie of the year, as we say?
23:46This is my first dream.
23:50This is his first dream.
23:52There won't be Osama Ramzi, Basso and Zubair.
23:55There won't be Osama Ramzi, Zubair.
23:56Osama Ramzi is crazy.
23:58Take Osama with you.
24:00Basso knows the drama.
24:03So you want to change the style?
24:07I want to change the style of the producers.
24:09I have 3 producers.
24:12We will try to convince them.
24:14But they will make a horror movie.
24:17Two scenarios?
24:18Two scenarios.
24:19It's a horror movie.
24:20We want to make it international.
24:22We don't want it to be national.
24:23We don't want it to be a public movie.
24:25We don't want it to be a drama movie.
24:27We don't want it to be a drama movie.
24:29We don't want it to be a drama movie.
24:30Rabih, what was the difference in service between
24:3330 Million, Husband and Wife?
24:36We will try to improve it.
24:40We will try to improve it.
24:45We have a lot of experience.
24:47We know what the audience wants.
24:51We will try to improve it.
24:53We improved it in Husband and Wife.
24:55The conditions were better.
24:57The budget was bigger.
24:59I think it was double.
25:01The budget was bigger.
25:04The budget was bigger.
25:06Was it 1 Million Dirhams?
25:08Yes.
25:10It was a lot of money.
25:12No, don't count the money.
25:14We don't know how much it was.
25:16It was a lot of money.
25:18No, it wasn't.
25:20I contributed a lot.
25:24I contributed a lot.
25:26I contributed a lot.
25:31I had a dream to make a movie.
25:33I had a dream to make a movie.
25:35I was ready to make a movie.
25:37I and Rabih did it.
25:39I didn't want to do it.
25:41It is hard to convince a producer to make a movie.
25:45Especially when you give him a place.
25:47That's why we say,
25:49Welcome to Mizar Studios.
25:51Welcome to the people who have trusted us.
25:53Welcome to the people who have trusted us.
25:55They went on an adventure.
25:57They went on an adventure because the movie is hard to read.
25:59It is hard to produce and release.
26:03There are different fields.
26:05There are movies and Post-Production work
26:08there are movies and Post-Production work
26:10Before Rabih helped us a lot.
26:17If at least the viewrs ...
26:24If at least the viewers ...
26:26I hope so, I hope so.
26:28Everything will be released.
26:30I hope so.
26:32As they say, the film is in the hands of the audience.
26:34In the feet of the audience.
26:36Yes, in the feet of the audience and in the forehead of the audience.
26:40But the important thing is
26:42that the Moroccan audience
26:44will accept the cinema.
26:46I am a fan of cinema.
26:48When I went to the cinema hall,
26:50I saw a film by Yatranger,
26:52directed by Mlayer,
26:54and I saw people coming in.
26:56Today, the Moroccan audience wants to produce Moroccan films.
26:58This is the last question.
27:00We have 30 seconds.
27:02We will not film Baso, we will film Rabea.
27:04What do you want to do?
27:06If Baso wants to write,
27:08we will convince him.
27:10What do you mean?
27:12And if he wants to throw money?
27:14Hello, Fadela.
27:16Because you don't want to be honest.
27:18You don't want to leave everything to Baso.
27:20So the first step is here.
27:22In addition to these two films,
27:24your show is still going on.
27:26Yes, it is still going on.
27:28It will be released on the 15th
27:30and it will be in Brussels on the 24th.
27:32It is still going on abroad.
27:34Thank you for inviting me.
27:38I am happy to be here with you.
27:40I want to tell you
27:42something
27:44that people should know.
27:46I have to share it with you.
27:48It has to do with
27:50the fact that people
27:52like you
27:54don't have a director's hat.
27:58Thank you, Rabea.
28:00I want to thank you
28:02for welcoming me.
28:04I am sure people will laugh
28:06when they watch the film.
28:08I hope they will accept it.
28:10Thank you, Rabea.
28:12Thank you, Baso.
28:14Zuberi and Osama Ramzi
28:16will be here soon.
28:18Thank you, Rabea.
28:20Thank you, Zuberi.
28:22Thank you for inviting me.