مدي 1 تي في : مع عادل الفاضلي وعبد النبي البنيوي - 17/01/2025
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00:00Welcome to a new episode of your daily and artistic program, Patchwork.
00:19We are happy to meet you every day and every night to present and share with you some news,
00:25news of work and the latest news in the field of art.
00:28So I invite you to thank God and let's start.
00:34Welcome again.
00:36I suggest that we all go and meet the guests of today's episode who have something to do with this film.
00:56I will call the police.
01:06What are you doing?
01:09What I hear is that there are only French people like you.
01:12What do you think you are, an Arab?
01:14You are a gypsy.
01:15You are talking nonsense.
01:18I don't need to go out of my house.
01:20I will go back in Ramadan.
01:23My father didn't die.
01:25A film directed by Adil Fadili.
01:27Coming soon to cinemas.
01:32We are now in the cinemas of My Father Didn't Die.
01:35We will meet one of the guests of today's episode, the director of this film, Adil Fadili.
01:40Hello and welcome.
01:42Thank you. Thank you. Thank you, Osama.
01:45How are you?
01:46I'm good. Very good.
01:47Thank God. Welcome.
01:48Welcome.
01:49He is also one of the heroes, one of the actors of this film, Abdel Nabil Bin Youis.
01:53Hello and welcome.
01:54Hello. Thank you for the invitation, Osama.
01:56How are you?
01:57I'm good. Thank God.
01:58Finally, Abdel Nabil and Adil, we will watch this film that took a lot of time to be released.
02:05It took about 9 years to be released.
02:07Not all 9 years, but it took a lot of time.
02:10The film that has 5 or 4 movies that have not been released yet.
02:13That have not been released yet.
02:15And the film that won a lot of awards, 10 awards.
02:21Let's start with Abdel Nabil.
02:23How was the first day?
02:24For me, this film is about childhood, innocence, love, democracy.
02:30How was the first day, Adil, for you to watch this film?
02:33Honestly, working with Adil is fun.
02:40Adil, how was the first day of the film for you?
02:44I felt that we were going to enter an artistic experiment.
02:47It's not an exceptional story, but it has its own strength,
02:50or it has its own image, which is different from the way we work.
02:57So, I felt that we were going to enter an experiment that will have good fatigue,
03:00and will have pleasure.
03:02An experiment that will build balls and make costumes.
03:06So, we were in an artistic experiment.
03:09What are the words that Adil chose to describe the subject of the film?
03:16The way Adil explains the character and the film,
03:22he tries to bring you into his dreams.
03:24This is what he dreams of, he tries to share it with you.
03:27And the most beautiful thing is that he tries to turn you into the child inside you,
03:32so that you can connect with him.
03:34Because he believes that the child is the one who creates.
03:37So, thank God, we found a child,
03:40and we connected with him in a beautiful way,
03:42neither on the human side, nor on the artistic side.
03:45Childhood.
03:46A big word.
03:48In the first five minutes, we talked about the childhood,
03:51six or seven times.
03:53Is there a little bit of Adil Fadeli's childhood in the film?
03:56Yes, there is.
03:59In the characters, in the story, in many aspects.
04:02But the important thing is that the child should witness a historical era,
04:09a dark era, the year of the bullets.
04:13And we wanted to bring this innocent child's vision
04:17to tell the story of a person,
04:19a person who lives in the political context of that time.
04:23And through that child's perspective,
04:26we were able to convey a lot of messages,
04:29which were a little bit difficult,
04:31because they were taking a more realistic side.
04:38But when you create that world, that space, that universe,
04:42through the child's vision,
04:44it becomes easier to convey the message.
04:46The child was not the one who conveyed the casting.
04:50Thank you very much, Adam Regal.
04:52His friend, who was with him, was the one who brought him here.
04:55At first, we thought that if we didn't have the child,
04:58we wouldn't have the film.
05:00Because the child had to be young.
05:02Adam was 9 years old when we started the film.
05:05So we thought that the French had to have a lot of time
05:08to find a child to play this role.
05:11So in the first casting,
05:13there was a child with his brother.
05:16His brother.
05:17So the child did the test,
05:19and I didn't ask his brother to do the casting.
05:23And he did the casting,
05:24even though his brother didn't take the role.
05:26Why is the child not mentioned a lot in the film?
05:29Does he have a few lines?
05:31He has a few lines.
05:33You can talk about the child,
05:35because he is in the middle of the screen.
05:37Because we know the children,
05:39so we thought it was not a problem
05:41to isolate him from the adults,
05:44to create a world for them,
05:46a space for them,
05:48to avoid the reality they are living in.
05:53So the child has this magical side,
05:58and imagination,
06:00to create another world,
06:02and to avoid the real world,
06:04which is a dead world.
06:06Among the actors,
06:08there was Fatima Atef,
06:10there was Omar Lotfi,
06:12there was Nadia Kunda,
06:16there was Mohamed Khouyyeh,
06:18there was the late Aziz Fadeli,
06:20there were a lot of stars.
06:22There was Fawzi Bin Saidi,
06:24and there was Big Tawa,
06:26who played a good role.
06:29A group of actors.
06:31Every day I worked with them,
06:33they were the first actors I worked with.
06:36You mentioned Fawzi Bin Saidi.
06:38Fawzi Bin Saidi is a star,
06:40a legend.
06:41What does Fawzi Bin Saidi do,
06:43so that he doesn't ruin the film?
06:48Fawzi is a friend,
06:50and before this friendship,
06:52he was a great respecter.
06:54He respected the world,
06:56and his cinema.
06:58I liked his cinema.
07:00When I watched his films,
07:02I was a spectator,
07:04not an actor,
07:06but a spectator.
07:08He has a lot of talent,
07:10but he doesn't speak,
07:12because people who watch the film
07:14don't understand why he doesn't speak.
07:16Why?
07:17From what I see,
07:19Fawzi Bin Saidi in the film
07:21is not a song that you listen to a lot.
07:23In Fawzi Bin Saidi's character,
07:25there is a violent side,
07:27an authoritarian side,
07:29an authoritarian side,
07:31which is not
07:33a romantic song.
07:35You want to find
07:37a contradiction.
07:39Yes, a contradiction.
07:41He doesn't have to be a villain.
07:43We know that
07:45a lot of people who
07:47went to the opera,
07:49to Wagner,
07:51went to work,
07:53they did a bad job.
07:55Yes, that's right.
07:57Do you think that there was
07:59a freedom of expression,
08:01and that everything was 100% correct?
08:03Before I answer you,
08:05I would like to say something
08:07about Adil's film.
08:09There are a lot of characters
08:11that don't speak.
08:13Fawzi's character,
08:15or Adam,
08:17who plays the king
08:19in his dreams,
08:21there is also Yassine Skaal.
08:23He doesn't speak
08:25in his relationship
08:27with his brother's father.
08:29He is the monster.
08:31There is this beauty
08:33in the picture
08:35where the characters
08:37don't love each other.
08:39They are in a relationship,
08:41but the situation
08:43makes them get into an accident.
08:45Their only crime
08:47is that they were
08:49in the wrong place
08:51at the wrong time.
08:53Your question,
08:55Osama, is really
08:57about Adil's work.
08:59Do you think that
09:01apart from the direction
09:03of the actor,
09:05or the personal development,
09:07you feel that you are
09:09listening to someone
09:11who is leading a project
09:13in his department?
09:15Of course, the characters
09:17are not important elements
09:19to tell the story.
09:21But what was important
09:23to Adil was that
09:25we are leaving this universe.
09:27Everything was fine.
09:29The dialogues were fine.
09:31We were discussing
09:33what we had to say.
09:35Also,
09:37the emotional charge
09:39was fine.
09:41Everything was fine.
09:43He had to bring
09:45a charger to
09:47give the environment
09:49to this universe.
09:51The work was smooth.
09:53What about the sequence plan
09:55at the beginning?
09:57We shot
09:59in one night.
10:01We shot
10:033 or 4 takes.
10:05Not many.
10:07But we had a lot of preparation.
10:09We had a lot of rehearsals.
10:11We had a lot of rehearsals.
10:13We rehearsed with the camera.
10:15We rehearsed with
10:17all the techniques.
10:19We rehearsed with the light.
10:21We rehearsed with the motion.
10:23Did you have a sequence plan?
10:25Yes, we did.
10:27We shot 300 characters.
10:29Each character
10:31has a different world.
10:33Each character has a different world.
10:35We had to find the right
10:37people to play
10:39the role of each character.
10:41We had to find the right people
10:43to play the role of each character.
10:45to play the role of each character.
10:47There was one thing
10:49that I liked in the film
10:51the English subtitles.
10:53Modern movies are
10:55subtitled in French.
10:57There are movies in French
10:59or French subtitles
11:01or English subtitles.
11:03or English subtitles.
11:05The music is good.
11:07The music is good.
11:09The music is good.
11:11The music is good.
11:13and of course you won a prize for the music.
11:18Congratulations to Ftah Ngadi.
11:22Ftah Ngadi, who worked on the music for the film Aby Lamiamot.
11:28At first, I had a feeling that this film is a film of the universe.
11:33As Abed Nbi said earlier,
11:38the characters outside the universe,
11:42the scenery, the costumes, even the music.
11:48It's a complete mix of everything.
11:51It's all part of the universe.
11:53Is there a song in the end?
11:56No, it's Ftah Ngadi.
11:58The lyrics were written by Tawfiq Humman
12:01and Ftah Ngadi composed the melody.
12:03Abed Nbi, you've been filming this film for years.
12:07Are you looking forward to seeing the audience's reactions?
12:13I'm looking forward to seeing the film.
12:15Why? Because as I told you,
12:17it's a one-off experience.
12:19Let's look at the sequence.
12:21It's normal not to know what's going on.
12:23I'm going to look at it.
12:25Take your time.
12:27It's a pleasure to come to the set to film
12:31and they tell you,
12:33we're not going to film the costumes.
12:35We're going to rehearse.
12:37We rehearsed until just now.
12:39With the rigging, the technique,
12:41and we filmed the sunset.
12:43That's the sequence plan.
12:45It's good to dream and let people dream with you.
12:49But when you see the whole experience,
12:51the whole film,
12:53you realize that you're dreaming
12:55and you're not doing what you're supposed to do.
12:5790% of the time, the scenery is bad.
12:59You don't feel like you're doing a good job.
13:01We're making a film.
13:03We're going to take our time.
13:05We're going to fix the walls, the ceiling,
13:07everything.
13:09It's a service that's built on good foundations.
13:11It's what's going to help you
13:13create this universe.
13:15The sequence plan wasn't made
13:17to show the muscles in the production,
13:19or to show the technical prowess.
13:21It was to set up the space.
13:23We set up the space,
13:25we set up the characters,
13:27and even the genre of the film.
13:29At the end of the sequence plan,
13:31we don't say anything.
13:33There's no kid on a motorcycle.
13:37Here, we show that
13:39we're in a film
13:41that talks about our reality,
13:43but it's pure fiction.
13:45There's a fantastic side to it.
13:49Besides the excitement
13:51when the film comes out,
13:53you describe your stress.
13:55How did you mentally deal with it?
13:57Did you wait a year,
13:59or two, or three?
14:01Did you find a solution?
14:03Did you get out of your house?
14:05Did you go to festivals?
14:07Did you have to wait more than a year
14:09to get out of the theater?
14:11Filming was in three stages.
14:13We were in three blocks.
14:15We filmed in one block
14:17and we locked the song.
14:19Why did we lock the song?
14:21Because we didn't have the means.
14:23We didn't have the means to continue.
14:25If I had a sequence
14:27like I had in France,
14:29a sequence that had 300 or 200 people,
14:31how could we have 300 or 200 people?
14:33We didn't want to lock the song.
14:35That's why it took me a year
14:37to film the film.
14:39After that,
14:41there was the post-production stage.
14:43Then came the COVID-19,
14:45one or two years later.
14:47Then my late father passed away.
14:49God rest his soul.
14:51I didn't have a choice.
14:53I didn't have a choice.
14:55I didn't want to stop.
14:57It was the circumstances
14:59that made me stop the film.
15:01The shot that was filmed
15:03in the police station
15:05with Don Big
15:07is a special shot.
15:09It's not a commercial,
15:11it's not a commercial.
15:13But there were
15:15120 people in that shot.
15:17How did you manage
15:19to film 120 people?
15:23There weren't
15:25only 200 people.
15:27There were other people
15:29who were in front of the camera.
15:31Don't tell the truth.
15:33There was a lot of
15:35input in the film.
15:37I grew up in a world
15:39of character.
15:41My father helped me
15:43with the set and the accessories.
15:45We didn't have the machines.
15:47He had the idea
15:49to create a machine
15:51out of cardboard.
15:53There were two machines,
15:55one fake and one real.
15:57You couldn't see everything.
15:59But there was a lot of effort
16:01in the set.
16:03You built a banana box
16:05for the 70s and 80s
16:07when you were filming.
16:09Yes.
16:11You had the shampoo
16:13for the 70s.
16:15Was your father
16:17in charge of the orchestra?
16:19Yes.
16:21We worked on the sets
16:23and the models.
16:25My father was in charge
16:27of the set design.
16:29He wasn't stressed.
16:3395% of the film
16:35was shot in the studio.
16:37Everything was built.
16:39The fair,
16:41the houses, the streets,
16:43everything.
16:45When I was a kid,
16:47I used to wander around
16:49the world.
16:51I was stressed
16:53by the production
16:55and the freedom
16:57of the director.
16:59There was a contradiction
17:01between the two.
17:03Sometimes,
17:05when we say
17:07that the production
17:09is 200 figures,
17:11it's not true.
17:15When you finished the film
17:17and watched it,
17:19you said that it's a love story.
17:21It's a love story between you
17:23and Sia Ibn Nabi.
17:25Nadia and you
17:27had a great relationship.
17:29How did you see it?
17:31What can you say about it?
17:33To be honest,
17:35Nadia and I
17:37had a great relationship
17:39and we were very happy.
17:41It's a love story
17:43that gives you
17:45the truth you think about.
17:49It's a love story
17:51because it's an element
17:53that should be in the puzzle
17:55like in many other short stories.
17:57In the film,
17:59we follow the child
18:01before he dies.
18:03But we go through a series
18:05of political and social events.
18:07The little stories
18:09in the characters
18:11are the main intrigue
18:13of the film.
18:15So,
18:17the joy
18:19or the celebration
18:21in the film is love.
18:23We have the right to love
18:25and to be romantic.
18:27We have the right to laugh.
18:29It's up to the characters.
18:31The film
18:33is more human
18:35than political.
18:37The characters
18:39are bankers
18:41who have nothing to do
18:43with politics.
18:45But by accident,
18:47they find situations
18:49that make them
18:51victims of those situations.
18:53What is Omar Lotfi's character like?
18:55In the film,
18:57he is a monster.
19:01I don't want to say everything.
19:03There is a line
19:05in the film
19:07that I noticed
19:09that says,
19:11the important thing is the meaning
19:13not the taste.
19:15Could this line
19:17have been said by the father?
19:19I don't remember
19:21but many times
19:23he said it to me.
19:25The most important thing
19:27or the essential
19:29is that the girl
19:31has a deep meaning
19:33and a deep heart.
19:35It's more than
19:37the appearance.
19:39It's easy
19:41to have a good appearance
19:43but to have a bad heart
19:45is something else.
19:47The title of the film
19:49is very beautiful
19:51but it's ironic.
19:55Why?
19:57In the middle of the film,
19:59there is a scene
20:01where the father dies.
20:03In the beginning,
20:05the title of the film
20:07was Aby Lamiamot.
20:09We used this title
20:11and every father who attended
20:13saw the film
20:15and before he died,
20:17he watched the film.
20:19In the father's death,
20:21people were able to tell
20:23between the title
20:25and the father's death.
20:27What do you think
20:29about Adil's quality and flaws?
20:31Adil's quality is...
20:33You have a headache.
20:35No, I'm an artist.
20:37Don't say anything.
20:39I'm an artist who likes to dream
20:41and this is a bad quality.
20:43We have the right to dream
20:45and creativity
20:47wants a lot of dreams.
20:49One of his flaws
20:51is that he has to sleep a little.
20:53Dreams don't last,
20:55this is one of his flaws.
20:57Adil, what do you think
20:59about Adil's quality and flaws?
21:01His quality is...
21:03his talent.
21:05He lacks talent.
21:09His flaws are...
21:11I don't know.
21:13Don't say anything, Adil.
21:15Don't say anything.
21:17The situations we were in...
21:19No, I don't...
21:21No, I don't...
21:23I don't know.
21:25Of course, everyone has flaws.
21:27But I don't have any.
21:29May God bless you.
21:31You have a lot of flaws.
21:33You have a lot of flaws.
21:35I have six flaws.
21:37Adil, how was the meeting
21:39with the owner of the title,
21:41Ameer Mourou Arshid?
21:43It was a nice meeting.
21:45It was the second time at the festival.
21:47It was the first time I met him
21:49in a short period of time.
21:51It was the second time
21:53I met him in a long period of time.
21:57People respect the artist.
21:59They respect the artist.
22:01They know the value of the artist.
22:03Thank God,
22:05as long as we are here,
22:07we have...
22:09we have an important guarantee
22:11for us.
22:13As we can see,
22:15the film talks about the years
22:17of shooting.
22:19The film is supported
22:21by the Moroccan Film Center
22:23and the Moroccan Film Festival.
22:25It won awards.
22:27We don't find this in other places.
22:29There are few countries
22:31that support films
22:33that have a lot of criticism.
22:35We have to be fair
22:37to our past.
22:39We have to be fair
22:41to our past.
22:43We have to know
22:45the difficulties
22:47that Morocco has to face.
22:49We can see that Morocco
22:51is safe.
22:53The whole world is witnessing this.
22:55We encourage freedom of expression
22:57and freedom of the artist.
22:59We have a word
23:01about the word
23:03Bricol.
23:07How do you understand
23:09the word Bricol?
23:11How do you understand it
23:13as a Moroccan representative
23:15of the Bricol movement?
23:17What does Bricol mean
23:19in your opinion?
23:21When you say
23:23Bricol,
23:25you have to think
23:27about your duty
23:29and your effort
23:31with respect
23:33and love.
23:35I don't support
23:37cheating
23:39in general.
23:41It's better than lying.
23:43I have to work hard
23:45to achieve my goal.
23:47I don't know
23:49what the word Bricol means.
23:51I hate it,
23:53but many artists
23:55have to do Bricol.
23:57I heard
23:59the word Bricol
24:01from Omar.
24:03My nephew.
24:05He said,
24:07money is money.
24:09Bricol means
24:11that the representative
24:13has to work hard
24:15to achieve his goal.
24:17He has to work hard
24:19because of the circumstances,
24:21he has responsibilities,
24:23he has children.
24:25Sometimes the representative
24:27does a good job,
24:29and sometimes he does it
24:31to make a living.
24:33He has the possibility
24:35to choose
24:37what he wants.
24:39But sometimes the circumstances
24:41prevent him from achieving
24:43what he wants.
24:45What do you plan to do
24:47in the future?
24:49I still plan to go to
24:51Segui, the theater,
24:53the cinema.
24:55It's a dream come true.
24:57It's a dream come true.
24:59It's a dream come true.
25:01It's a dream come true.
25:03It's a dream come true.
25:05I was in the 50s
25:07and it was a adventure
25:09and a studio.
25:11I was in the 50s
25:13and it was a adventure
25:15and a studio.
25:17I was in the 50s
25:19and I was in the 50s
25:21and I wanted to talk about
25:23Morocco's history
25:25with my vision.
25:27Before I did anything,
25:29I was a viewer
25:31of Moroccan movies.
25:33I wanted to share it with the general public.
25:35I wanted to share it with the general public.
25:37Did you have a script?
25:39No, but I had an idea.
25:41No, but I had an idea.
25:43Thank you for coming.
25:45Any last words?
25:47I hope that the Moroccan audience
25:49will go to see the movie
25:51Before He Dies.
25:53I hope that the Moroccan audience
25:55will go to see the movie
25:57Before He Dies.
25:59I hope that the Moroccan audience
26:01will go to see the movie
26:03with the colors.
26:05I hope that the Moroccan audience
26:07will go to see the movie
26:09with the colors.
26:11I hope that the Moroccan audience
26:13will go to see the movie
26:15with the colors.
26:17I hope that the Moroccan audience
26:19will go to see the movie
26:21with the colors.
26:23I hope that the Moroccan audience
26:25will go to see the movie
26:27with the colors.
26:29It is a pity that the Moroccan audience
26:31didn't watch the futures sequence.
26:33It is a pity that the Moroccan audience
26:35didn't watch the futures sequence.
26:37In Morocco, we didn't get the forgery
26:40We had to protect it and help the people who did the forgery
26:47In the life of death, in their show
26:50To keep the forgery from the child
26:52Because it's a shame that the child didn't get his rights in the film
26:56And there was a lot of circuses, why not?
26:59The forgery is important
27:00Because we didn't give the child to dream
27:02The child who had this dream had to get his rights
27:05The circus or the forgery has evolved
27:07Because it's something that we do
27:09There is a speciality
27:10Thank you Ibn Nabi, thank you Adil Fadeli
27:12Thank you
27:13Thank you for joining us
27:14We have reached the end of today's episode
27:15The film Abi Lam Yamout is currently in all cinemas
27:19You must go and watch it
27:21And enjoy the events of this film
27:24Which won a lot of awards
27:26We have reached the end of today's episode
27:28God bless you
27:29And see you soon