17 November 2015

Ilgar Safat, director and screenwriter,

Ilgar Safat - one of the prominent representatives of modern Azerbaijani cinema. His interests are not limited to the main occupation, which in turn has an impact on his work, giving versatility and iconic works. On his worldview and creative director and writer Ilgar Safat told the Day.az.

- What are the themes in the film by far the most in demand of the Azerbaijani audience?
- The audience all over the world, in principle, the same. People like comedy, apparently because a rather complicated and so we do, from which you get tired and you want to switch to. Next fantasy films and other entertainment with lots of special effects. However, this does not mean that it is not necessary to remove the intellectual cinema, a film about the lives of ordinary people about the inner world of man. As if one does not exclude the other.
- Are you talking about more than shooting?
- I have, of course, love and spectacular films, but psychology attracts me more. I find it interesting journey into the consciousness of the inner dimension of man, where there is its own laws and has its own complexity. These adventures - the most exciting.
- What is the main purpose of your films? Re-educate people and introduce them to some values, set thinking or something else?
- I always try to tell a story, to share some emotions. I want to communicate with the audience is on an emotional level. Not at the level of some heavy semantic structures, and at the level of emotions and feelings. I believe that this is the main key to the viewer's perception. Everything else comes later, but the main are always emotions.
- Do you prefer to shoot their films in a professional or non-professional actors?
- You know, I always liked to push them, because sometimes arise from such a tandem interesting, unpredictable situations. Naturally, a professional actor is equipped technically, he has a certain emotional blanks, their stamps for any occasions. And the amateurs, so to speak, character types, they are spontaneous, they do not prepare themselves to shoot, so sometimes their emotions are more real, more alive and sparkling.
- And when you begin to work with non-professional actors, you are not afraid that they can not cope? Maybe they mean to Valais appropriate, and in front of the camera may get lost ...
- All depends on the task.
- That is, before you do not put newcomers challenges?
- Different. For example, in the film "Land" in the title role of child, I took the boy in front of which were quite difficult acting task. In general, of course, need to understand the capabilities of its actors, because in any case, each actor - professional or not - always has its limits, its range. Even superbly equipped with a professional actor in something limited. There is a limit beyond which it is difficult to get out. This does not mean that to go beyond that is not possible, you just have to help him develop himself. And this can only be achieved through communication and practice.
- At one time you are addicted to rock music. Why did not want to continue to develop in this direction?
- Because it is good to do it at a young age. However, Mick Jagger and his 70 still famously jumps around the stage. But, in general, the rock - the music of young, at some point you start to outgrow it and choose something else.
- What advice would you give to the rising generation of young people who want to realize themselves?
- Less than watch TV and listen to pop music, more than read the book ...
- You used to love to write poetry. Now, too fond of it?
- There was a time when I was passionate about poetry, seriously studied this area and constantly writing something new. I connected with the shamanic tradition of poetry, from which it was born. But then my poetic experience dried up. All this, of course, associated with consciousness, the mental experience. After all, consciousness - is the main instrument by which we operate. Have you ever wondered why there are always young poets? Adults or older so you usually do not see. Because receptors perception of young people are more authentic - the cosmos, nature, first love, first kiss, first look at the sky, the first breath of wind. All this shakes the soul of a young man. If you are more or less equipped intellectually, you have the opportunity to express their experiences in words. Then consciousness begins to dominate. Therefore, most of "poet" in a person dies in the interval from 27 to 32 years old. And I have already passed the 40-year mark and, accordingly, this area of ??simple (laughs).
- You want to say that with age people become more callous and cynical?
- Again, there are exceptions. Now I am talking about the European sense of poetry that is seen in the romantic spirit. So - this is definitely a young man with a lush head of hair, which is drunk standing on the roof of a skyscraper, reciting his poems. But in the traditional sense, everything is different. In ancient times poets were the elderly, such as Homer, Sophocles and others. Perhaps there is a chance that poetry comes back, and we can only monitor developments.
- What do you do in your free time?
- There is a very good formulation: the director - is not a profession, but a state of mind. That is, you can not work from 9 to 6, the director, and then - to cease to be. This is a condition in which you plunge once and can not get out of it. So I can not say what I do out of hours - I simply do not have it. I always try to do what I wonder - his profession.
- I would like to congratulate you on the completion of your last shooting of the film "Old City." Tell us about it.
- It is a psychological drama. We wrote the script together with the talented actress and scriptwriter Takhmina Raffaelli, who sang the title role in the film. The film stars the wonderful artists - Mehriban Zeki, Firdovsi Atakishiyev, Elmira Shabanov, Murad Yagizarov, Vidadi Hasanov, Midhad Aydin, Anar Khalilov. In this picture, I used mainly experienced, professional actors, because it was very important to win back all the subtle psychological situation experience. But we are busy and lay people for whom this film is the debut in cinema. At the moment, we are at the stage of installation and we hope that by spring, "Old City" will be released on the screen.
- Your paintings bring some kind of commercial benefit?
- In our case, it is difficult to speak of commercial gain, because there is no system of rolling and very few cinemas. And the people themselves are not accustomed to go to the national cinema, as we have said, they prefer Hollywood blockbusters, ie multi-million dollar paintings, which, of course, very difficult to compete in our conditions.
- And how can our people attach to the national cinema? Maybe organize free screenings in theaters, people were able to see?
- In recent years, my colleagues have been removed a certain number of interesting works, and in the cinema "Nizami" held free screenings of domestic innovations. However, little information about it spreads, and many people who would like to come to the session, are simply not aware of such actions. The media should inform the public about such things, and not focus on the latest developments in the field of show business.
Another problem is the lack of the Institute of Film Critics. So many movies are nobody seen to have not learned and understood. That is, spaces are available on all floors of our film industry, and to fill them, everyone should do their job honestly and professionally as possible.

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