مدي 1 تي في : مع نبيل عيوش ونسرين الراضي - 12/12/2024
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00:00Hello and welcome to a new episode of your daily and artistic patchwork show.
00:20I'm happy to be with you every day to present and share with you some news, works and innovations in the artistic field.
00:27So, let's get started.
00:34Hello again and welcome to the guests of today's episode.
00:58Welcome to the guests of today's episode.
01:06Ahmed!
01:27Hello again and welcome to the guests of today's episode.
01:35Taxi!
01:37Hello again and welcome to the guests of today's episode.
01:47Hey! Allah Allah! Allah Allah!
01:52Everybody loves Judah!
02:00I don't want money. I want to be a good sheikh.
02:03Allah Allah! Allah Allah!
02:14Everybody loves Judah!
02:16The film is currently in cinemas in Morocco.
02:20We have with us the director of this film, Nabil Ayyoush.
02:24Hello and welcome.
02:25Hello again.
02:26How are you?
02:27I'm fine.
02:28Welcome, Nabil.
02:29We also have with us the heroine of this film, the great actress Nisreen Rady.
02:34Hello.
02:35Hello. Thank you.
02:36How are you?
02:37I'm fine.
02:38Thank God.
02:39Welcome.
02:40Nisreen, how did the Morocco Film Festival start?
02:42It started a long time ago.
02:44It was the first projection in Morocco.
02:47Nabil, I and the entire film team were happy.
02:50We liked the reaction of the audience.
02:52We were looking forward to this episode.
02:54What was the feedback of the Moroccan audience, Nabil?
02:58We got a lot of positive feedback.
03:00We wanted to sit in front of the audience.
03:03As Nisreen said, we were looking forward to this projection.
03:06It's not a good situation.
03:07It's possible.
03:08It's the beginning of the film.
03:09It's been five years now.
03:10The film has been seen all over the world.
03:13But we didn't feel what we felt in Morocco.
03:17The film was well received.
03:19The film already won a lot of awards.
03:22Some people didn't expect the reaction of the audience.
03:28You liked the reaction of Malmö, Sweden, Los Angeles, etc.
03:35What was the feedback of the international audience?
03:40I was surprised to hear the reaction of the people,
03:45especially the families who came to us in Italy,
03:48in Rome, and in America.
03:51They told us that what they talked about in the film
03:56had something to do with what they lived every day.
03:59I didn't understand.
04:01I didn't meet the sheikhs and the Ayatollahs.
04:03I didn't know what they were talking about in the film.
04:05Especially a Moroccan group in the region.
04:08Did the Talian sheikhs talk to them?
04:09Yes.
04:10What I understood was the problems,
04:14the problems of the women who live in this film,
04:17who live in Touda,
04:20and the words of the Ayatollahs in the film.
04:25When they read the subtitles,
04:27they understand that they have to do with the struggles of men today.
04:31Because there is a lot of information about feminist issues in the United States.
04:39These sheikhs are women who are fighters, warriors.
04:43Strong and resistant.
04:44What I liked about the film is that the public's reaction is always the same all over the world.
04:50A lady in Gouna told me,
04:53I won't forget what she said,
04:55that in the end we are all Touda.
04:57Touda is not just a sheikh in the film.
05:00She is like a woman,
05:02and anyone who looks at her head,
05:04there is a woman in the film.
05:06This is what is beautiful about Touda.
05:07She is a woman in the role of Touda.
05:09She is like the mothers who raised their children.
05:13Children who have difficulties.
05:16In the film, one of her characters says an important and wonderful thing.
05:21She wants him to read,
05:22but she doesn't want him to read.
05:23And the journey of the couple to the cities is not for her son to read,
05:26but for your son in the film who has a disability.
05:30So, through this story,
05:33there are a lot of Touda's who are suffering with their children.
05:39You worked a lot on this film.
05:43A year and a half of work or more?
05:45A year and a half between preparation and shooting.
05:48There were a lot of stages,
05:50with a lot of sheikhs.
05:52Three of them marked my preparation.
05:56Khadija al-Bedawi, may God have mercy on her,
05:58started with this preparation.
05:59She died during the preparation.
06:01After that, she went to Sfiha in Sfiha.
06:04She stayed there for a month and a half, Nabil.
06:07You and the sheikhs.
06:09Of course.
06:10And the Sfiha.
06:11Of course.
06:12And she came back to Gaza to continue with this preparation.
06:16In the film, Nabil,
06:17there are a lot of scenes of singing.
06:19The song of the Nisrine,
06:21and the voice of the Nisrine.
06:22But in some scenes,
06:24you had a voice dubbing.
06:26Yes.
06:28Did you use artificial intelligence
06:30to mix the voice of the Nisrine?
06:32We used artificial intelligence.
06:39We tried in the studio,
06:41the voice before the film,
06:43to reach the voice of the Nisrine.
06:47Because Ayodh, as you know,
06:49when he asks for something in the voice
06:52to reach a level
06:54where he can sing in the foreground.
06:57It was very beautiful at the time.
06:59But Ayodh has been training for many years.
07:02So we worked with the Nisrine.
07:04We said, there is a part of the song
07:06that you can sing like this,
07:08and there is another part on which...
07:10Exactly.
07:11Because the voice of the sheikh
07:13needs a certain level.
07:15And that level,
07:16either you have it or you don't.
07:18I used to sing a little bit.
07:20I worked on my voice.
07:23And one day the Nisrine came to me
07:25and said, there is a part of the song
07:27that you can't sing in.
07:29And I said, I'm with you.
07:31I even prepared the time.
07:33And I lost all hope.
07:35I said, I don't want to be left alone.
07:37But that's what the Nisrine said a lot.
07:39A lot.
07:40She didn't want to add anything.
07:42I stayed with her.
07:43We agree that the Nisrine has no flaws.
07:46She has flaws, fortunately.
07:48I wanted to defend you.
07:51But she has wonderful flaws.
07:56She has a character,
07:58a personality that I like a lot.
08:00Because Nisrine is without concessions.
08:02She doesn't want to say anything.
08:04She doesn't want to say anything.
08:06It's this kind of personality
08:08that I want to have as a director.
08:10That's why our relationship
08:12in this shooting is very strong.
08:14A lot.
08:15You want to be a director.
08:17You want your personality
08:19to have a character.
08:21You want to have a personality.
08:23Directors ask for this.
08:25They ask for understanding,
08:27for listening.
08:29And at the same time,
08:31they are in front of you,
08:33one-on-one.
08:35They come to you.
08:37They don't say anything to you.
08:39They say, I want you to defend
08:41his idea.
08:43The Nisrine, as we know,
08:45is a hard worker, but a bit rebellious.
08:47Rebellious, rebellious.
08:49That's right.
08:51That's what we want.
08:53That's what we want.
08:55That's the rebellion
08:57that we want.
08:59Believe me, Nisrine.
09:01I know what you mean.
09:03It's the story of a rebel.
09:05It's the story of a woman
09:07who fights.
09:09She defends her race.
09:11She defends her country.
09:13It's the story of a social uprising.
09:15It's not about poverty,
09:17wealth, or anything like that.
09:19Bouda is a hard worker.
09:23When you work with a director,
09:25a director who lets you
09:27fight and defend
09:29your ideas,
09:31whether it's Nabil Ayouj,
09:33Saïq Frasouk, Aarif Frasouk,
09:35he can give you the freedom
09:37to rebel against him
09:39and defend your character.
09:41Thank you, Nabil.
09:51Nabil, why Touda?
09:53It's a beautiful name.
09:55Yes, it's a beautiful name.
09:57In Algeria,
09:59they say that
10:01one of the meanings of Touda
10:03is life.
10:05There are attributes
10:07of the name Touda
10:09that come from Nisrine's character.
10:11It will be the name
10:13of the film.
10:15That's it.
10:17In Touda's character,
10:19Nisrine has smooth hair
10:21and curly hair.
10:23Yes.
10:25Did you do it on purpose?
10:27The director, Nabil,
10:29prepared the character
10:31every morning
10:33to see what Nisrine would look like.
10:35I think this curly hair
10:37is because he already has
10:39an idea of the character
10:41and he sees how it will evolve
10:43step by step in the film.
10:45I respect Nabil a lot for this.
10:47He doesn't leave anything out.
10:49Everything is his.
10:51He works on the details
10:53of the film and his character.
10:55Perfectionist.
10:57It's true that we work on the details.
10:59Nabil, wasn't it difficult
11:01to translate
11:03Aita's texts?
11:05Because we are
11:07very difficult.
11:09Aita's specialists
11:11tell us that it's difficult
11:13to translate the texts
11:15in French,
11:17or English,
11:19or even in the film.
11:21In some scenes,
11:23the voice doesn't come out.
11:25When you say,
11:27my cousin,
11:29it's like a son of a tribe.
11:31Who will be your cousin?
11:33My cousin.
11:35My cousin.
11:37That's right.
11:39Before, when we were still living
11:41in the village,
11:43it was difficult to find
11:45a translator.
11:47It wasn't just a translator,
11:49but a lot of people.
11:51But the choice
11:53to subtitle
11:55one of the songs
11:57is a very
11:59voluntary choice
12:01because you can't
12:03translate a song
12:05without a translator.
12:07But these songs have a meaning,
12:09like Aita's songs,
12:11or other songs.
12:13It's true that
12:15it's impossible
12:17to translate.
12:19Nisrine, what role does
12:21your mother play in your life?
12:23What a question!
12:25Nisrine,
12:27in the name of God.
12:29Hello, how are you?
12:31Hello, how are you?
12:33Honestly,
12:35I haven't thought much about it.
12:37I started thinking
12:39about it
12:41when I was young.
12:43When I heard
12:45Everybody Loves Tudor,
12:47I started thinking about it.
12:49Knowing that Tudor's role
12:51is still with you,
12:53you decided to go on tour.
12:55Yes, when Nabil and I
12:57traveled abroad,
12:59I met Tudor.
13:01He's a very nice guy.
13:03He's a very nice guy.
13:05He's a very nice guy.
13:07He's a very nice guy.
13:09We can't go back
13:11to everything
13:13in order not to spoil the movie.
13:15But the scene with your son
13:17in the movie is very impressive.
13:19It's a very good movie.
13:21Nabil, God bless you.
13:23God bless you.
13:25God bless you.
13:27One more thing.
13:29Nabil, why are most of the scenes
13:31shot at night?
13:33There is a night,
13:35but it's true,
13:37we are interested
13:39in the nightlife
13:41of the house.
13:43The houses, the cabarets,
13:45the bars.
13:47It's true that it's an underground house.
13:49Where did you shoot the houses?
13:51Where did you shoot the cities?
13:53Beautiful cities.
13:55In the Azilal region.
13:57In the Azilal region.
13:59So you had an important role.
14:01Ait Bou Gmez.
14:03Localization.
14:05Ait Bou Gmez.
14:07We were in the car.
14:09It was snowing.
14:11Nabil didn't want to shoot anything.
14:13I was crying.
14:15I couldn't. I was afraid.
14:17He said, I'm going out in that car with you.
14:19Don't be afraid.
14:21He went out with you in the car?
14:23I told him, don't be afraid.
14:25I told him, don't be afraid.
14:27Nabil, did you learn
14:29some Ayot?
14:31Yes, I learned a lot.
14:33The preparation, the writing.
14:35I learned how to do Ayot.
14:37Ayot is the dedication in the film.
14:39Nabil is my uncle.
14:41Nabil is my uncle.
14:45Nabil, do you need a microphone?
14:47No, no microphone.
14:49I can't sing.
14:51I can't sing.
14:53I don't know how to sing.
14:57We're with you, Nabil.
14:59Hello.
15:01If you have a concern,
15:03you can tell us.
15:05Do you have bad habits?
15:07Yes.
15:09Guilty.
15:11Yes, guilty.
15:13Daily?
15:15Not really.
15:17I don't sleep at night.
15:19Discipline? Routine?
15:21No, I don't sleep at night.
15:23I don't sleep at night.
15:25Do you want to talk about it?
15:27I need my psychologist first.
15:29I need my psychologist first.
15:31I need my psychologist first.
15:33I need my psychologist first.
15:35I can't sleep anymore.
15:37I'm tired.
15:39I'm tired.
15:41Excitement.
15:43Excitement.
15:45Excitement.
15:47I used to work a lot.
15:49I used to work a lot.
15:51I don't like to work.
15:53I don't like to work.
15:55You seem to be a funny person.
15:57Me?
15:59Guilty.
16:01I don't say a word,
16:03I just laugh.
16:05I'm a funny person,
16:07I don't like to laugh.
16:09You used to laugh in the middle of a shoot.
16:11You had to get used to it.
16:13You had to get used to it.
16:15Yes, it was a lot of laughter.
16:17Yes, it was a lot of laughter.
16:19What's impressive in my B-roll,
16:21sometimes,
16:23sometimes,
16:25there's a little bit of laughter for every take.
16:27there's a little bit of laughter for every take.
16:29It changes,
16:31it sounds,
16:33it appears on the set
16:35and is in the role.
16:37That's what's amazing.
16:39That's what's amazing.
16:41She may have a different kind of role
16:43It's not the kind of actors who take a lot of time to concentrate and see the wall.
16:48I need to concentrate.
16:51You get inspired by people, by life, by a lot of things.
16:56Yes, that's true. I've seen a lot of actors play with their friends,
17:01and between one take and another, they're like this.
17:04You see them in the wall.
17:06Yes.
17:07The wall technique.
17:09And you say,
17:12You need to stabilize them.
17:14Yes.
17:15No, I'm like that.
17:17We know that you laugh a lot.
17:19It's a memory.
17:21I'll read the sentence in a good way.
17:24We're hungry.
17:26Do any of you lose a lot of weight?
17:29No, not even one.
17:31Really?
17:32Me?
17:34I like people like you.
17:36I'm not talking about you.
17:38I don't hear you lose weight.
17:40No, but it's normal.
17:43You get angry, you get angry.
17:45I get angry, but I don't laugh.
17:47I get angry and laugh at the same time.
17:49That's good.
17:51Nabil doesn't get angry because he's cold.
17:54He's very democratic.
17:56He wakes up at 5 or 6 in the morning.
17:58He wakes up at 5 or 6 in the morning.
18:00Yoga.
18:01Nabil or Nisrine,
18:03why did you decide to be a singer?
18:07I didn't want to be a singer.
18:09You didn't want to be a singer.
18:11No, I didn't want to be a singer.
18:13I had an accident,
18:15but it wasn't a big one.
18:17We were in the valley.
18:19Nisrine didn't want to go into the valley.
18:21She was afraid of snakes.
18:23I was wearing jeans and a t-shirt.
18:25At one point,
18:27I went into the water.
18:29He was wearing a green sweater.
18:31He said,
18:33I'm not going in there.
18:35Did you have an accident?
18:37Yes, I had an accident.
18:39We were locked up in a house.
18:41We were going to Rabat.
18:43We were going back to Marrakech.
18:45It was a very difficult accident.
18:47I took his insurance.
18:49Since 2015,
18:51I've been a singer.
18:53You didn't want to stay in Cairo.
18:55I didn't want to stay in Cairo.
18:57What would you do if you fell in a festival?
18:59I would do this.
19:03I would sit there.
19:07I would go into the festival
19:09and then I would say,
19:11No, you are in Israel.
19:13No, I'm not.
19:15I'm asking you.
19:17Did you know Marrakech?
19:19I knew it.
19:21They were sitting there.
19:23Everyone survived.
19:25Did you sing in Marrakech?
19:27I didn't see anyone.
19:31This one is a bit difficult.
19:35It's a bit bogus.
19:37Wow.
19:39Thank you, Nabil and Nisreen.
19:41Their heads died in the movie.
19:46I'm guilty.
19:48Tell us.
19:49I don't know.
19:50I don't know.
19:51Tell us.
19:52Cameo.
19:53Yes, I saw it.
19:55No, it's not the third one.
19:57It's on the head.
19:59Oh, yes.
20:01As you can see, Nabil died.
20:03We'll tell you what the problem is now.
20:05I want to say a few words about Mounaim Koubeb.
20:10He died in the movie.
20:13He died.
20:15I don't want to forget Mounaim.
20:17When we were filming this clip,
20:22we told the director of the set
20:25that we need a first-person shot.
20:27I asked him what he was going to write.
20:29He said he was going to write his name.
20:31I asked him what his name was.
20:33He said he was going to write it.
20:35He was going to be famous.
20:37I said, look, this is my name.
20:39I'm like this.
20:41Why are you laughing at me?
20:43The problem is that he died.
20:49What did you choose?
20:51I chose the date of his death.
20:53Really?
20:55Yes, I chose it.
20:57I told him, I'm not going to die.
20:59I told him...
21:019th of May, 1964.
21:03Can you stay alive until 1964?
21:05Yes, until 1995.
21:07No, not yet.
21:09You can stay alive until you die.
21:11Don't make fun of me.
21:14Don't make fun of me.
21:16Don't be superstitious.
21:18I'm not superstitious.
21:20I'm just remembering.
21:22I'm not going to die until I die.
21:25So, see you on 9th of May, 1964.
21:29We'll see.
21:31We'll see.
21:33We'll see.
21:37Nabil.
21:39Nabil.
21:41The Oscars.
21:43But first of all,
21:45anything you want is here.
21:49The Oscars.
21:51Are you going to announce
21:53which movie will be with you?
21:55Will it be on the shortlist?
21:57Yes.
21:59What's new is that
22:01the movie, for the first time,
22:03a Moroccan movie,
22:05a regional movie,
22:07has been selected
22:09and it's new.
22:11I hope that next year
22:13and the following years
22:15other Moroccan movies will be selected.
22:17First of all,
22:19the Oscars are a lottery
22:21because there are 2,000 or 3,000 voters
22:23all over the world.
22:25It's complicated.
22:27They ask for a lot of opportunities.
22:29They ask for marketing,
22:31lobbying, everything.
22:33We've done a lot.
22:35We'll see.
22:37I hope that the best director
22:39will win the Oscars.
22:41I hope so.
22:43He's the closest to being nominated.
22:45But if the movie
22:47is in the category
22:49of foreign movies
22:51in the Oscars,
22:53I hope you'll win.
22:55Thank you, Oussama.
22:57I'm touched.
23:01Oussama is a friend.
23:03We've been friends
23:05for a long time.
23:07I'm proud of you, Nisrine.
23:11What are your projects?
23:13I can't say.
23:19I shot the movie
23:21Farzad Samsami,
23:23an Iranian-Norwegian director.
23:25We shot it in Morocco.
23:27It's a Moroccan story.
23:29We shot it in Morocco.
23:31Can you name 2 or 3 actors?
23:33Amine Naji and Younes Bouab.
23:35Amine Naji was in the movie
23:37Nobody Loves Tudor.
23:39Can you name 2 or 3 actors?
23:41We see that
23:43your actors
23:45come back in other movies.
23:47Nisrine was in Adam
23:49after Tudor.
23:51Amine Naji was in Razia
23:53after Tudor.
23:55Who comes back?
23:57He was in Plastic.
24:01Amine Naji was in Zine Lefk.
24:03Razia was in Tudor.
24:05Abdelalachid was in Khayr Allah.
24:07Razia was in Tudor.
24:09Abdelalachid was in Tudor.
24:11Abdelalachid was in Tudor.
24:13He was the first actor
24:15who came back in Khayr Allah.
24:17Did you have a contract with him?
24:19No.
24:21It was a contract.
24:23It was a contract.
24:25I didn't hire my actors
24:27or actresses.
24:29I hired my family.
24:31Cinema builds a family
24:33with time.
24:35You meet people
24:37you know
24:39and when a new movie comes
24:41you write a role
24:43and you trust them.
24:45Did you shoot the next movie?
24:47Or did you write it?
24:49I'm still working on it.
24:51I'm going to Paris
24:53to shoot Everybody Loves Tudor
24:55with Nisrine.
25:01After that,
25:03I'm going to Amrati
25:05to shoot Laftanja.
25:07I'm going to spend some time
25:09with her
25:11and we'll see how it goes.
25:13But I already have a project.
25:15No shooting?
25:17No.
25:21Thank you, Nisrine.
25:23Thank you, Dava.
25:25It's the first time I'm with you.
25:27Hello.
25:33Thank you, Nabil.
25:35It's always a pleasure
25:37to be with you.
25:39It's nice to share a set with you
25:41like you shared with me
25:43with Everybody Loves Tudor.
25:45Thank you, Nabil.
25:47I'm going to help you
25:49with a lot of things.
25:51Nabil is one of the most important directors
25:53I've worked with so far.
25:55Good luck.
25:59The movie is currently in cinemas
26:01in Morocco and France.
26:03Good luck with the Oscars.
26:05We've reached the end.
26:07It's like the Oscars.
26:11Thank you, Nabil.
26:13Thank you, Nisrine.
26:15Greetings to the technical and artistic team.
26:17Thank you for writing us
26:19every day and night.
26:21Thank you for interacting with us.
26:23Good luck.
26:25Patchwork.