Page 12 - (کیهان لندن - سال سى و سوم ـ شماره ۱۵ (دوره جديد

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‫ﺟﻤﻌﻪ ‪ 12‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ‪ 18‬ﺗﻴﺮ ﻣﺎﻩ ‪1394‬ﺧﻮﺭﺷﻴﺪﻯ‬

‫ﺟﺸﻨﻮﺍﺭﻩ ﺩﺭ ﺳﻪ ﺷﻬﺮ ﺑﺎﺭﺳﻠﻮﻥ‪ ،‬ﭘﺎﺭﻳﺲ ﻭ‬ ‫ﺷﻬﺮﻳﺎﺭ ﺻﻴﺎﻣﻰ‬ ‫ﺷﻬﺮﻳﺎﺭ ﺻﻴﺎﻣﻰ ﻛﻪ ﻓﻴﻠﻢﺳﺎﺯﻯ ﺭﺍ ﺍﺯ ﺳﺎﻝ‬
‫ﻧﻴﻮﻳﻮﺭﻙ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻭ ﻣﺎ ﻓﻌﻼ ﺍﺯ ﻃﺮﻑ‬ ‫ﻭ ﻣﺴﺘﻨﺪ »ﻧﺎﻭﺍﺿﺢ«‪:‬‬ ‫‪ 1370‬ﺍﺯ ﺍﻧﺠﻤﻦ ﺳﻴﻨﻤﺎﻯ ﺟﻮﺍﻥ ﺩﺭ ﺯﺍﻫﺪﺍﻥ‬
‫ﺑﺎﺭﺳﻠﻮﻥ ﺩﻋﻮﺕ ﺷﺪﻳﻢ ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺁﻧﺠﺎ‬ ‫ﺁﻏﺎﺯ ﻛﺮﺩ‪ ،‬ﺭﻭﻧﺪ ﺩﻭ ﺩﻭﺭﻩ ﻓﻴﻠﻢﺳﺎﺯﻯ ﻣﺴﺘﻨﺪ ﺭﺍ‬
‫ﻧﻤﺎﻳﺶ ﺧﻮﺑﻰ ﺧﻮﺍﻫﻴﻢ ﺩﺍﺷﺖ‪ .‬ﻗﺮﺍﺭ ﺍﺳﺖ ﻓﻴﻠﻢ‬ ‫ﻭﻗﺘﻰ ﺳﻜﻮﺕ‬ ‫ﺗﺠﺮﺑﻪ ﻛﺮﺩﻩ ﺍﺳﺖ؛ ﺍﻭ ﺩﺭﺩﻭﺭﻩ ﺍﻭﻝ ﺳﺎﻝﻫﺎﻯ‬
‫ﺑﺎ ﺯﻳﺮﻧﻮﻳﺲ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ ﭘﺨﺶ ﺷﻮﺩ ﻛﻪ ﺑﻪ ﺍﻳﻦ‬ ‫ﺯﻳﺎﺩﻯ ﺭﺍ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﺪﻭﻳﻦﮔﺮ‪،‬‬
‫ﺗﺮﺗﻴﺐ ﭘﻴﺶﺑﻴﻨﻰ ﻣﻰﻛﻨﻴﻢ ﻓﻴﻠﻢ ﻣﺨﺎﻃﺒﺎﻥ‬ ‫ﻛﻨﻰ‪ ،‬ﻋﻤﻖ‬ ‫ﻛﺎﺭﮔﺮﺩﺍﻥ ﻭ ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺴﺘﻨﺪ ﻳﺎ ﺑﺎ‬
‫ﺻﺪﺍ ﻭ ﺳﻴﻤﺎﻯ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﻭ ﻳﺎ ﺑﻪ ﻃﻮﺭ‬
‫ﺑﻴﺸﺘﺮﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻓﺎﺟﻌﻪ ﺭﺍ ﺑﻴﺸﺘﺮ‬ ‫ﻣﺴﺘﻘﻞ ﻛﺎﺭ ﻛﺮﺩﻩ ﺍﺳﺖ ‪ .‬ﺻﻴﺎﻣﻰ ﻣﺴﺘﻨﺪﻫﺎﻯ‬
‫»ﺭﺍﺯ ﺍﺑﻴﺎ«‪» ،‬ﺑﻬﺸﺖ ﭘﺮﻧﺪﮔﺎﻥ«‪» ،‬ﻣﻬﺎﺟﺮﺍﻥ‬
‫‪‬ﻓﻜﺮﻣﻰﻛﻨﻴﺪﻓﻴﻠﻢ»ﺁﺕﺁﻭﻓﻮﻛﻮﺱ«ﻳﻚ‬ ‫ﻛﺮﺩﻩﺍﻯ!‬ ‫ﺳﺮﺯﻣﻴﻦ ﺷﻤﺎﻟﻰ«‪» ،‬ﺑﻪ ﺑﻠﻨﺪﺍﻯ ﻛﺮﻳﺖ«‬
‫ﺭﻭﺯ ﻧﻪ ﭼﻨﺪﺍﻥ ﺩﻭﺭ ﺩﺭ ﺍﻳﺮﺍﻥ ﻫﻢ ﺍﻛﺮﺍﻥ ﺷﻮﺩ؟‬ ‫)ﺑﺮﻧﺪﻩ ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢﻫﺎﻯ ﻛﻮﺗﺎﻩ‬
‫‪-‬ﺧﻴﻠﻰ ﺩﻟﻢ ﻣﻰﺧﻮﺍﺳﺖ ﻳﻚ ﺭﻭﺯﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫)ﻧﺴﺘﺮﻥ ﻳﻮﺳﻔﻰ(‬ ‫ﺗﻬﺮﺍﻥ ﻭ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺟﺸﻨﻮﺍﺭﻩ‬
‫ﺍﻛﺮﺍﻥ ﺷﻮﺩ ﻭﻟﻰ ﻓﻜﺮ ﻧﻤﻰﻛﻨﻢ ﻋﻤﻠﻰ ﺑﺎﺷﺪ‬ ‫ﻓﻴﻠﻢ ﺩﺭﺑﺎﺭﻩ ﺁﺏ ( ﻣﺴﺘﻨﺪ ﻋﻠﻤﻰ »ﻣﻬﻤﺎﻥ‬
‫ﺍﻣﺎ ﺗﻼﺵ ﻣﻰﻛﻨﻢ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥﻫﺎﻯ‬ ‫ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﻣﺎﻩ ﭘﻴﺶ ﺩﺭ ﮔﺰﺍﺭﺷﻰ ﺯﻳﺮ ﻋﻨﻮﺍﻥ»ﻧﺎﻭﺍﺿﺢ‪ ،‬ﻣﺴﺘﻨﺪﻯ ﻭﺍﺿﺢ ﺍﺯ ﻭﺍﻗﻌﻴﺖ« ﺑﻪ ﺁﺧﺮﻳﻦ ﻓﻴﻠﻢ ﻣﺴﺘﻨﺪ ﺷﻬﺮﻳﺎﺭ‬ ‫ﻧﺎﺧﻮﺍﻧﺪﻩ« ﻭ ﻣﺠﻤﻮﻋﻪ »ﺗﺎﻻﺏﻫﺎﻯ ﺍﻳﺮﺍﻥ« ﻭ‬
‫ﻓﺎﺭﺳﻰ ﺯﺑﺎﻥ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﺑﻪ ﺷﻜﻞ ﺣﺮﻓﻪﺍﻯ‬ ‫ﺻﻴﺎﻣﻰ ﭘﺮﺩﺍﺧﺖ‪ .‬ﻧﺎﻭﺍﺿﺢ»ﺁﺕ ﺁﻭ ﻓﻮﻛﻮﺱ« ﻳﺎ »ﻧﺎﻭﺍﺿﺢ« ﺭﻭﺍﻳﺖ ﻣﺘﻔﺎﻭﺗﻰ ﺍﺯ ﺩﺍﺳﺘﺎﻥ ﺯﻧﺪﮔﻰ ﻳﻚ ﺟﻮﺍﻥ ﻫﻨﺮﻣﻨﺪ ﺍﻳﺮﺍﻧﻰ ﺍﺳﺖ‬ ‫ﻫﻢﭼﻨﻴﻦ »ﺁﻥ ﻣﺮﺩ ﻣﻮﺗﻮﺭ ﺩﺍﺭﺩ« ﺭﺍ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ‬
‫ﻓﻴﻠﻢ ﺭﺍ ﺑﺨﺮﻧﺪ ﻭ ﻧﻤﺎﻳﺶ ﺩﻫﻨﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ‬ ‫ﺑﻪ ﻧﺎﻡ ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ؛ ﻓﻴﻠﻤﻰ ﻛﻪ ﺻﻴﺎﻣﻰ ﺩﺭ ﺁﻥ ﺑﻐﺾ ‪ 17‬ﺳﺎﻟﻪ ﺍﻓﺸﻴﻦ ﻭ ﺩﻭﺳﺘﺎﻧﺶ ﺭﺍ ﻣﻰﺷﻜﻨﺪ ﻭ ﺭﻭﺍﻳﺖ ﺗﻠﺨﻰ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ‬
‫ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﺑﺒﻴﻨﻨﺪ‪.‬‬ ‫ﻣﻰﻛﺸﺪ ﻭ ﺁﻥ ﺭﺍ ﺑﺎ ﺩﺭﺧﺸﺶ ﺷﺨﺼﻴﺖ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻋﺮﺻﻪ ﻫﻨﺮ ﺗﻠﻔﻴﻖ ﻣﻰﻛﻨﺪ؛ ﺗﻠﻔﻴﻘﻰ ﺍﺯ ﺭﻧﺞ ﮔﺬﺷﺘﻪ‪ ،‬ﻣﻮﻓﻘﻴﺖﻫﺎﻯ ﻛﻨﻮﻧﻰ‬ ‫ﭘﺮﺑﺎﺭ ﺧﻮﺩ ﺛﺒﺖ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻭ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﺍﻳﺮﺍﻧﻰﻫﺎ ﺧﺎﺭﺟﻰﻫﺎ ﺭﺍ ﺗﺸﻮﻳﻖ‬ ‫ﻭ ﺍﻣﻴﺪﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺑﻪ ﺁﻳﻨﺪﻩ‪.‬ﺍﻳﻦ ﻓﻴﻠﻢ ﻛﻪ ﺗﻮﺍﻧﺴﺖ ﺟﺎﻳﺰﻩ »ﻣﺮﻳﺖ ﻓﻴﻠﻢ ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ« ﺭﺍ ﻛﺴﺐ ﻛﻨﺪ‪ ،‬ﺑﻪ ﺗﺎﺯﮔﻰ ﭼﻨﺪ‬ ‫ﻭﻯ ﺩﺭ ﺩﻭﺭﻩ ﺩﻭﻡ ﭘﺲ ﺍﺯ ﻣﻬﺎﺟﺮﺕ ﺑﻪ ﻟﻨﺪﻥ‬
‫ﻛﻨﻨﺪ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺑﺒﻴﻨﻨﺪ ﭼﻮﻥ ﺍﻳﺮﺍﻧﻰﻫﺎ ﺑﻪ ﻫﺮ‬ ‫ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻰ ﺩﺭ ﻟﻨﺪﻥ ﻭ ﻫﻢﭼﻨﻴﻦ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﻧﺸﺴﺖﻫﺎﻯ ﺣﻘﻮﻕ ﺑﺸﺮ ﺳﺎﺯﻣﺎﻥ ﻣﻠﻞ ﺩﺍﺷﺘﻪ ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﺩﺭ ﭼﻨﺪ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻣﺴﺘﻨﺪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ »ﺷﺠﺮﻳﺎﻥ«‪» ،‬ﭘﮋﻭﺍﻙ‬
‫ﺣﺎﻝ ﻳﻚ ﺭﻭﺯ ﻓﻴﻠﻢ ﺭﺍ ﺧﻮﺍﻫﻨﺪ ﺩﻳﺪ ﻭ ﻟﺰﻭﻡ‬ ‫ﺭﻭﺯﮔﺎﺭ«‪» ،‬ﻧﻐﻤﻪﻫﺎﻯ ﻳﻚ ﺳﺮﺯﻣﻴﻦ« ﻭ ﻣﺴﺘﻨﺪ‬
‫ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻧﻴﺰ ﺷﺮﻛﺖ ﻛﻨﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺑﻬﺎﻧﻪ ﺑﺎ ﻛﺎﺭﮔﺮﺩﺍﻥ ﻓﻴﻠﻢ ﮔﭗ ﻭ ﮔﻔﺖ ﻭ ﮔﻮﻳﻰ ﺩﺍﺷﺘﻴﻢ‪.‬‬ ‫»ﺣﺮﻳﻒ ‪ «55‬ﺭﺍ ﺑﺮﺍﻯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺑﻰ ﺑﻰ ﺳﻰ‬
‫ﺩﻳﺪﻥﺷﺎﻥ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺧﺎﺭﺟﻰﻫﺎ ﻧﻴﺴﺖ‪.‬‬ ‫ﻓﺎﺭﺳﻰ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢ »ﺁﺕ ﺁﻭ ﻓﻮﻛﻮﺱ«‬
‫ﻛﻪ ﺍﮔﺮ ﺍﻳﻦ ﻓﻴﻠﻢ ﺯﻣﺎﻧﻰ ﺳﺎﺧﺘﻪ ﻣﻰﺷﺪ ﻛﻪ‬ ‫ﻣﺸﺎﺑﻪ ﺭﺍ ﺑﮕﻴﺮﻯ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﻛﺎﺭﻯ ﻛﻪ ﻣﺎﺩﺭ‬ ‫ﻛﺘﺎﺏ »ﻛﻠﻨﻞ« ﻧﻮﺷﺘﻪ ﻣﺤﻤﻮﺩ ﺩﻭﻟﺖ ﺁﺑﺎﺩﻯ‬ ‫ﻳﺎ »ﻧﺎﻭﺍﺿﺢ« ﺟﺪﻳﺪﺗﺮﻳﻦ ﻓﻴﻠﻢ ﻣﺴﺘﻨﺪ ﻣﺴﺘﻘﻞ‬
‫‪‬ﻗﺒﻼ ﺑﻴﺸﺘﺮ ﺩﺭ ﻣﻮﺭﺩ ﻣﺤﻴﻂ ﺯﻳﺴﺖ ﻛﺎﺭ‬ ‫ﺍﻓﺸﻴﻦ ﻣﻮﻓﻖ ﻧﺒﻮﺩ ﻣﻰﺗﻮﺍﻧﺴﺖ ﻣﻮﻓﻖ ﺷﻮﺩ‪ ،‬ﻣﺜﻼ‬ ‫ﺳﺘﺎﺭ ﺑﻬﺸﺘﻰ ﻛﺮﺩ‪ .‬ﺍﮔﺮ ﺍﻓﺸﻴﻦ ﺁﻥ ﻣﻮﻗﻊ ﺣﺎﺩﺛﻪ‬ ‫ﺭﺍ ﺑﻪ ﺍﻭ ﺩﺍﺩﻡ‪.‬‬
‫ﻣﻰﻛﺮﺩﻳﺪ ﺍﻣﺎ ﮔﻮﻳﺎ ﺑﻌﺪ ﺍﺯ ﺳﺎﺧﺖ ﺁﺧﺮﻳﻦ‬ ‫ﺣﺘﻰ ﺍﮔﺮ ﺩﻭﺑﺎﺭﻩ ﺑﺨﻮﺍﻫﻢ ﻓﻴﻠﻢ ﺭﺍ ﺑﺴﺎﺯﻡ‪ ،‬ﺭﻭﻯ‬ ‫ﺗﻠﺨﻰ ﺭﺍ ﻛﻪ ﺑﺮﺍﻳﺶ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﺭﺳﺎﻧﻪﺍﻯ‬ ‫ﺍﻭ ﺍﺳﺖ‪.‬‬
‫ﻓﻴﻠﻢﺗﺎﻥ ﺩﺭ ﺍﻳﺮﺍﻥ )ﺁﻥ ﻣﺮﺩ ﻣﻮﺗﻮﺭ ﺩﺍﺭﺩ(‬ ‫ﺯﻧﺪﮔﻰ ﻓﻌﻠﻰ ﺍﻭ ﺗﻤﺮﻛﺰ ﺑﻴﺸﺘﺮﻯ ﺧﻮﺍﻫﻢ ﻛﺮﺩ ﻛﻪ‬ ‫ﻣﻰﻛﺮﺩ ﻭ ﺷﻠﻮﻍ ﻣﻰﻛﺮﺩ ﺷﺎﻳﺪ ﺑﻌﺪﺍ ﺍﺯ ﺍﻳﻦ‬ ‫‪-‬ﻭﻟﻰ ﺑﺎﻻﺧﺮﻩ ﺍﻓﺸﻴﻦ ﺭﺍﺿﻰ ﺷﺪ ﺟﻠﻮﻯ ﺩﻭﺭﺑﻴﻦ‬ ‫ﻣﻮﺿﻮﻉ ﻓﻴﻠﻢ ﺭﻭﺍﻳﺖ ﻧﺎﮔﻔﺘﻪﻫﺎﻳﻰ ﺍﺯﺣﺎﺩﺛﻪ‬
‫ﺳﺒﻚ ﻓﻴﻠﻢﺳﺎﺯﻯ ﺷﻤﺎ ﺑﻪ ﺭﻭﺍﻳﺖ ﻣﺘﻔﺎﻭﺕ‬ ‫ﺩﺍﺳﺘﺎﻥ ﻗﻮﻯﺗﺮﻯ ﺩﺍﺭﺩ ﻭ ﻛﺎﺭﻫﺎﻯ ﻓﻌﻠﻰ ﺍﻭ ﻫﺮ‬ ‫ﺣﻤﻠﻪﻫﺎﻯ ﺧﻮﺩﺳﺮﺍﻧﻪ ﺑﻪ ﺧﺎﻧﻪ ﻣﺮﺩﻡ ﺍﺗﻔﺎﻕ‬ ‫ﺳﻜﻮﺗﺶ ﺭﺍ ﺑﺸﻜﻨﺪ‪....‬‬ ‫ﺗﻠﺦ ﺯﻧﺪﮔﻰ ﺍﻓﺸﻴﻦ ﻧﺎﻏﻮﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ‬
‫ﺍﺯ ﺯﻧﺪﮔﻰ ﺗﻐﻴﻴﺮ ﻛﺮﺩ؛ ﺁﻳﺎ ﻓﻴﻠﻢﺳﺎﺯﻯ ﺩﺭ‬ ‫ﻧﻤﻰﺍﻓﺘﺪ‪ .‬ﺗﺎﺯﻩ ﺑﻪ ﺭﻭﺍﻳﺖ ﻗﻮﻯ‪ ،‬ﺑﻌﺪ ﺍﺯ ﻛﺸﺘﻪ‬ ‫ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ؛ ﺍﻓﺸﻴﻦ ﺟﻮﺍﻥ ‪ 22‬ﺳﺎﻟﻪﺍﻯ‬
‫ﺭﻭﺯ ﺩﺭ ﺣﺎﻝ ﭘﻴﺸﺮﻓﺖ ﻭ ﺗﻐﻴﻴﺮ ﺍﺳﺖ‪.‬‬ ‫ﺷﺪﻥ ﻋﻠﻰ‪ ،‬ﺩﺭ ﺣﺎﺩﺛﻪﺍﻯ ﻣﺸﺎﺑﻪ ﺩﻭ ﻧﻔﺮ ﺩﻳﮕﺮﻫﻢ‬ ‫‪-‬ﺍﻭﺍﻳﻞ ﺧﻴﻠﻰ ﺳﺨﺖ ﺑﻮﺩ؛ ﺭﻓﺘﺎﺭﺵ ﺟﻠﻮﻯ‬ ‫ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﻭﺳﺘﺎﻧﺶ ﺑﻪ ﻳﻚ ﻣﻬﻤﺎﻧﻰ‬
‫ﺍﻳﻦ ﻣﺴﻴﺮ ﺭﺍ ﺍﺩﺍﻣﻪ ﻣﻰ ﺩﻫﻴﺪ؟‬ ‫ﺩﻭﺭﺑﻴﻦ ﺑﺎ ﻓﺎﺻﻠﻪ ﻭ ﺭﺳﻤﻰ ﺑﻮﺩ ﻭﻟﻰ ﺁﺭﺍﻡ ﺁﺭﺍﻡ‬ ‫ﻣﺨﺘﻠﻂ ﻣﻰﺭﻭﺩ‪ .‬ﭘﻠﻴﺲ ﺯﻧﮓ ﺩﺭ ﺧﺎﻧﻪ ﺭﺍ‬
‫‪-‬ﺍﺻﻼ ﺑﺮﺍﻳﻢ ﻓﺮﻕ ﻧﻤﻰﻛﻨﺪ‪ ،‬ﻫﺮ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ‬ ‫‪‬ﺍﻳﻦ ﭘﻴﺸﺮﻓﺖ ﺭﺍ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺭ ﭼﻪ‬ ‫ﻛﺸﺘﻪ ﺷﺪﻧﺪ‪.‬‬ ‫ﻫﻤﻪ ﭼﻴﺰ ﺩﺭﺳﺖ ﺷﺪ‪ .‬ﻋﺎﻣﻞ ﺍﺻﻠﻰ ﻛﻪ ﺑﺎﻋﺚ‬
‫ﺯﻳﺒﺎ ﺑﺎﺷﺪ ﺁﻥ ﺭﺍ ﻛﺎﺭ ﻣﻰﻛﻨﻢ ﻣﻬﻢ ﻧﻴﺴﺖ ﻛﻪ‬ ‫ﻣﻰﺑﻴﻨﻴﺪ؟ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺷﻤﺎ ﺍﻻﻥ ﺑﻪ‬ ‫‪‬ﺍﺯﻣﻮﺿﻮﻉﻓﻴﻠﻢ ﻛﻪﺑﮕﺬﺭﻳﻢ‪،‬ﺩﺭﻭﺍﻗﻊﻓﻴﻠﻢ‬ ‫ﺷﺪ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺑﺎﺯﮔﻮ ﻛﻨﺪ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻣﻦ ﺑﺎ ﺍﻭ‬ ‫ﻣﻰﺯﻧﺪ ﻭ‪...‬‬
‫ﺩﺍﺳﺘﺎﻥ ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﻣﺬﻫﺒﻰ ﻭ ﻳﺎ ﻏﻴﺮﻩ ﺑﺎﺷﺪ‪ ،‬ﺍﺯ‬ ‫ﺍﻭ ﻧﺰﺩﻳﻚ ﻫﺴﺘﻴﺪ ﻭ ﺑﻴﺸﺘﺮ ﺑﺎ ﺭﻭﺣﻴﺎﺗﺶ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺧﻴﻠﻰ ﺻﺤﺒﺖ ﻛﺮﺩﻡ ﻭ ﻣﺪﺍﻡ ﺗﺎﻛﻴﺪ‬ ‫ﭼﻨﺪ ﺳﺎﻝ ﺑﻌﺪ ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﻓﺸﻴﻦ ﻗﻄﻊ‬
‫ﻫﺮ ﺩﺍﺳﺘﺎﻧﻰ ﻛﻪ ﻟﺰﻭﻡ ﮔﻔﺘﻦﺍﺵ ﺭﺍ ﺣﺲ ﻛﻨﻢ‬ ‫ﺗﻠﻔﻴﻘﻰ ﺍﺳﺖ ﺍﺯ ﺯﻧﺪﮔﻰ ﮔﺬﺷﺘﻪ ﻭ ﺯﻧﺪﮔﻰ‬ ‫ﺩﺍﺷﺘﻢ ﻛﻪ ﺍﻳﻦ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻣﻌﻤﻮﻟﻰ ﻧﻴﺴﺖ ﻭ‬ ‫ﻧﺨﺎﻉ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﺗﻮﺍﻥ ﺣﺮﻛﺖ ﻧﺪﺍﺭﺩ ﺟﻬﺖ‬
‫ﺁﺷﻨﺎﻳﻰ ﺩﺍﺭﻳﺪ‪.‬‬ ‫ﻻﺯﻡ ﺍﺳﺖ ﻛﻪ ﻣﺮﺩﻡ ﺩﺭﺑﺎﺭﻩﺍﺵ ﺑﺪﺍﻧﻨﺪ‪ ،‬ﺑﻪ ﻧﻈﺮﻡ‬ ‫ﺩﺭﻣﺎﻥ ﺑﻪ ﻟﻨﺪﻥ ﻣﻬﺎﺟﺮﺕ ﻣﻰﻛﻨﺪ ﻭ ﺑﺨﺶ‬
‫ﻓﻴﻠﻢ ﻣﻰﺳﺎﺯﻡ‪.‬‬ ‫‪-‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺍﻭ ﺍﻻﻥ ﺩﺭﻙ ﻭﺍﻗﻌﻰﺗﺮﻯ ﺍﺯ ﻣﻔﻬﻮﻡ‬ ‫ﻫﻨﺮﻯ ﺍﻓﺸﻴﻦ ﻭ ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ‬ ‫ﺷﺎﻳﺪ ﺍﮔﺮ ﺩﺍﺳﺘﺎﻥ ﺍﻓﺸﻴﻦ ﺩﺭ ﺁﻥ ﺩﻭﺭﻩ ﺑﺎﺯﮔﻮ‬ ‫ﺩﻭﻡ ﺯﻧﺪﮔﻰ ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺷﻬﺮ ﺁﻏﺎﺯ ﻣﻰﺷﻮﺩ‪ .‬ﺍﻭ‬
‫ﻫﻨﺮ ﻭ ﭘﻴﺎﻡ ﺁﻥ ﭘﻴﺪﺍ ﻛﺮﺩﻩ ﺍﺳﺖ؛ ﻗﺒﻼ ﻣﻰﺧﻮﺍﺳﺖ‬ ‫ﻣﻰﺷﺪ‪ 6 ،‬ﻣﺎﻩ ﺑﻌﺪ ﺍﺗﻔﺎﻗﻰ ﻣﺸﺎﺑﻪ ﻧﻤﻰﺍﻓﺘﺎﺩ ﻭ‬ ‫ﭘﺲ ﺍﺯ ﻣﻬﺎﺟﺮﺕ ﺑﻪ ﺍﻧﮕﻠﻴﺲ ﺩﺭ ﻛﻤﺎﻝ ﺗﻌﺠﺐ‬
‫‪‬ﺍﮔﺮ ﺑﺎ ﺍﻳﻦ ﺩﻳﺪﮔﺎﻩ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺮﮔﺮﺩﻳﺪ ﺍﺯ‬ ‫ﻫﻤﻪ ﺣﺮﻑﻫﺎ ﺭﺍ ﺳﺮﻳﻊ ﻭ ﺗﻨﺪﺗﺮ ﺑﻴﺎﻥ ﻛﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺭﻭﺍﻳﺖ ﻣﻰﺷﻮﺩ ‪ ،‬ﺍﻓﺸﻴﻦ ﺩﻭ ﺩﻭﺭﻩ ﺯﻧﺪﮔﻰ‬ ‫ﻋﻠﻴﺮﺿﺎ ﻓﺮﺯﺍﻧﻪﻓﺮ ﻛﺸﺘﻪ ﻧﻤﻰﺷﺪ‪ .‬ﻣﻦ ﺧﻮﺩﻡ‬ ‫ﻣﻰﺑﻴﻨﺪ ﻛﻪ ﺍﺯ ﻧﻮ ﻭﺍﺭﺩ ﺯﻧﺪﮔﻰ ﺷﺪﻩ ﻭ ﻣﻰﺗﻮﺍﻧﺪ‬
‫ﭼﻪ ﺳﻮژﻩﻫﺎﻳﻰ ﻓﻴﻠﻢ ﻣﻰﺳﺎﺯﻳﺪ؟‬ ‫ﺩﻗﻴﻘﺎ ﻣﺸﻜﻠﻰ ﺑﻮﺩ ﻛﻪ ﻣﻦ ﻫﻢ ﺩﺍﺷﺘﻢ‪ .‬ﻭﻟﻰ ﺍﻻﻥ‬ ‫ﻣﻌﺘﻘﺪﻡ ﻭﻗﺘﻰ ﺳﻜﻮﺕ ﻛﻨﻰ‪ ،‬ﻋﻤﻖ ﻓﺎﺟﻌﻪ ﺭﺍ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﺨﺼﻴﺘﻰ ﻣﺴﺘﻘﻞ ﻭ ﻗﻮﻯ ﻳﻚ‬
‫ﻓﻬﻤﻴﺪﻩ ﻛﻪ ﺑﺎ ﻇﺮﺍﻓﺖ‪ ،‬ﻛﻮﺗﺎﻩ ﻭ ﻛﻠﻴﺪﻯ ﺻﺤﺒﺖ‬ ‫ﻫﻨﺮﻯ ﺭﺍ ﭘﺸﺖ ﺳﺮ ﮔﺬﺍﺷﺘﻪ‪ .‬ﺁﻳﺎ ﻓﻜﺮ ﻣﻰﻛﻨﻴﺪ‬ ‫ﺑﻴﺸﺘﺮ ﻛﺮﺩﻩﺍﻯ‪ ،‬ﻭﻟﻰ ﻭﻗﺘﻰ ﺟﻠﻮﻯ ﻳﻚ ﻓﺎﺟﻌﻪ‬ ‫ﺯﻧﺪﮔﻰ ﻋﺎﺩﻯ ﻭ ﻣﻌﻤﻮﻟﻰ ﻭ ﺍﻟﺒﺘﻪ ﻫﻨﺮﻯ ﺩﺍﺷﺘﻪ‬
‫‪ُ -‬ﺧﺐ‪ ،‬ﺍﻻﻥ ﺍﻳﺮﺍﻥ ﺭﺍ ﺍﺯ ﺑﻴﺮﻭﻥ ﻣﻰﺑﻴﻨﻢ‪ .‬ﺧﻴﻠﻰ‬ ‫ﻛﻨﺪ‪ .‬ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﻛﺎﺭﻫﺎﻳﺶ ﻣﺸﺨﺺ ﺍﺳﺖ‪.‬‬ ‫ﻣﻘﺎﻭﻣﺖ ﻛﻨﻰ‪ ،‬ﺩﺍﺩ ﺑﺰﻧﻰ‪ ،‬ﻓﺮﻳﺎﺩ ﺑﺰﻧﻰ‪ ،‬ﺯﺟﺮ‬ ‫ﺑﺎﺷﺪ‪ .‬ﺍﻓﺸﻴﻦ ﺍﻧﮕﺎﺭ ﺩﻭﺑﺎﺭﻩ ﻣﺘﻮﻟﺪ ﻣﻰﺷﻮﺩ‬
‫ﺩﺍﺳﺘﺎﻥ ﺩﺍﺭﺩ ﻛﻪ ﺑﺸﻮﺩ ﻛﺎﺭ ﻛﺮﺩ‪...‬‬ ‫ﺍﮔﺮ ﻓﻴﻠﻢ ﺭﺍ ﺯﻣﺎﻧﻰ ﻣﻰﺳﺎﺧﺘﻴﺪ ﻛﻪ ﺍﻓﺸﻴﻦ‬ ‫ﺑﻜﺸﻰ‪ ،‬ﺑﺎﻻﺧﺮﻩ ﻣﻰﺗﻮﺍﻧﻰ ﺟﻠﻮﻯ ﻓﺎﺟﻌﻪﻫﺎﻯ‬ ‫ﻭ ﺭﺍﻫﻰ ﺭﺍ ﻛﻪ ﺁﺭﺯﻭ ﺩﺍﺷﺖ‪ ،‬ﺑﺎ ﻗﺪﺭﺕ ﺗﻤﺎﻡ‬
‫‪‬ﺑﺮﮔﺮﺩﻳﻢ ﺑﻪ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﻭ ﺷﺮﻛﺖ ﺩﺭ‬ ‫ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪ :‬ﻳﻚ ﻫﻨﺮﻣﻨﺪ ﻭ ﻧﻘﺎﺵ ﻭﺍﻗﻌﻰ‬
‫‪‬ﻣﺜﻼ؟‬ ‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎ؛ ﺑﻪ ﺟﺰ ﺟﺸﻨﻮﺍﺭﻩ ﻣﺮﻳﺖ ﻓﻴﻠﻢ‬ ‫ﻫﻨﻮﺯ ﺩﺭ ﻣﺤﺎﻓﻞ ﻫﻨﺮﻯ‪ ،‬ﻣﻮﻓﻘﻴﺖ ﻛﺴﺐ‬ ‫ﻣﻰﺷﻮﺩ ﻫﻤﺮﺍﻩ ﺑﺎ ﻣﻮﻓﻘﻴﺖ ﻭ ﺷﻬﺮﺕ‪ .‬ﺍﻭ ﺍﻣﺎ‬
‫‪-‬ﻣﺜﻼ ﺯﻧﺪﮔﻰ ﻋﺎﺩﻯ ﻣﺮﺩﻡ ﺧﻴﻠﻰ ﻋﺠﻴﺒﻪ‪،‬‬ ‫ﺳﺎﻧﻔﺮﺍﻧﺴﻴﺴﻜﻮ ﻛﻪ ﺟﺎﻳﺰﻩ ﺑﺮﺩﻳﺪ ﺩﺭ ﻛﺪﺍﻡ‬ ‫ﺣﺎﺩﺛﻪ ﺗﻠﺦ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺭﺍ ﺗﺎ ﻫﻔﺪﻩ ﺳﺎﻝ ﭘﺲ‬
‫ﺍﺗﻔﺎﻕﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺯﻧﺪﮔﻰ ﺭﻭﺯﺍﻧﻪ ﻣﺮﺩﻡ‬ ‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﻗﺮﺍﺭ ﺍﺳﺖ ﺷﺮﻛﺖ ﻛﻨﻴﺪ ﻭ ﺁﻳﺎ‬ ‫ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﻓﻴﻠﻢ ﺷﻤﺎ ﺑﺎﺯ ﻫﻢ ﻣﻮﻓﻖ ﻣﻰﺷﺪ؟‬ ‫ﺍﺯ ﻣﻬﺎﺟﺮﺕ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﻳﻚ ﺭﺍﺯ ﺑﺎ ﺧﻮﺩ ﺣﻔﻆ‬
‫ﻣﻰﺍﻓﺘﺪ ﻭﻟﻰ ﺁﻧﻬﺎ ﻣﺘﻮﺟﻪ ﻧﻴﺴﺘﻨﺪ ﻛﻪ ﭼﻘﺪﺭ‬ ‫ﻗﺼﺪ ﺩﺍﺭﻳﺪ ﻛﻪ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺟﺎﻫﺎﻯ ﺩﻳﮕﺮ ﻫﻢ‬ ‫‪-‬ﻣﻦ ﻭﻗﺘﻰ ﻛﻪ ﻛﺎﺭ ﺭﺍ ﺷﺮﻭﻉ ﻛﺮﺩﻡ ﻓﻘﻂ ﺣﺎﺩﺛﻪ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺗﺎ ﺍﻳﻨﻜﻪ ﺷﻬﺮﻳﺎﺭ ﺻﻴﺎﻣﻰ ﺍﺯ ﻃﺮﻳﻖ‬
‫ﺍﻳﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻰﺗﻮﺍﻧﺪ ﻋﺠﻴﺐ ﺑﺎﺷﺪ‪ .‬ﻫﺮ‬ ‫ﺑﺮﺍﻯ ﻣﻦ ﻣﻬﻢ ﺑﻮﺩ‪ ،‬ﺍﺑﺘﺪﺍ ﻣﻰﺧﻮﺍﺳﺘﻢ ﺧﻴﻠﻰ‬ ‫ﻳﻜﻰ ﺍﺯ ﺩﻭﺳﺘﺎﻧﺶ ﺑﻪ ﺭﺍﺯ ﺍﻭ ﭘﻰ ﻣﻰﺑﺮﺩ ﻭ ﺁﻥ‬
‫ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺧﻴﺎﺑﺎﻥﻫﺎ ﻭ ﺷﻬﺮﻫﺎ ﻭ ﺭﻭﺳﺘﺎﻫﺎ‬ ‫ﻧﻤﺎﻳﺶ ﺑﺪﻫﻴﺪ؟‬ ‫ﻛﻮﺗﺎﻩ ﺩﺭ ﺣﺎﺷﻴﻪ ﻓﻴﻠﻢ ﻧﺸﺎﻥ ﺑﺪﻫﻢ ﻛﻪ ﺍﻓﺸﻴﻦ‬ ‫ﺭﺍ ﺩﺳﺖﻣﺎﻳﻪ ﻓﻴﻠﻢﺍﺵ ﻣﻰﺳﺎﺯﺩ‪ .‬ﺍﻣﺎ ﭼﻄﻮﺭ؟‬
‫ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ ﻣﻰﺗﻮﺍﻧﺪ ﺳﻮژﻩ ﻳﻚ ﻓﻴﻠﻢ ﺑﺎﺷﺪ‬ ‫‪-‬ﻣﺎ ﻓﻴﻠﻢ ﺭﺍ ﺩﺭ ﺷﺸﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻠﮕﺮﺍﺩ ﺑﻪ ﻧﺎﻡ‬ ‫ﺍﻻﻥ ﻳﻚ ﺩﻭﺭﻩﺍﻯ ﺭﺍ ﻃﻰ ﻛﺮﺩﻩ ﻭ ﻣﻮﻓﻖ ﺷﺪﻩ‬
‫ﻭ ﺭﻭﺍﻳﺖ ﺯﻧﺪﮔﻰ ﺳﺎﺩﻩ ﻣﺮﺩﻡ ﻣﻰﺗﻮﺍﻧﺪ ﻗﺎﺑﻞ‬ ‫»ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﺩﺭﺑﺎﺭﻩ ﻣﻌﻠﻮﻻﻥ« ﺷﺮﻛﺖ‬ ‫ﺍﺳﺖ ﻭ ﺧﻮﺩﺵ ﺑﺮﻋﻜﺲ ﺗﺎﻛﻴﺪ ﺩﺍﺷﺖ ﻛﻪ ﻃﺮﻑ‬ ‫ﺷﻬﺮﻳﺎﺭ ﺻﻴﺎﻣﻰ ﻣﻰﮔﻮﻳﺪ‪:‬‬
‫ﺑﺎﺯﮔﻮ ﻛﺮﺩﻥ ﺑﺎﺷﺪ‪ .‬ﻣﺴﺎﻳﻞ ﭘﻴﭽﻴﺪﻩ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺩﺍﺩﻳﻢ ﻭﻟﻰ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺑﺮﻧﺪﻩ ﻧﺸﺪﻳﻢ‪ .‬ﻭ ﻫﻢﭼﻨﻴﻦ‬ ‫ﺩﻳﮕﺮ ﺩﺍﺳﺘﺎﻥ ﻳﻌﻨﻰ ﻣﻮﻓﻘﻴﺖ ﺍﻭ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﻮﺩ‪.‬‬ ‫ﻛﺎﺭ ﺩﺷﻮﺍﺭﻯ ﺑﻮﺩ ﭼﻮﻥ ﺍﻓﺸﻴﻦ ﻧﻤﻰﺧﻮﺍﺳﺖ‬
‫ﺑﻌﺪﺍ ﻓﻬﻤﻴﺪﻡ ﻛﻪ ﺍﺻﻼ ﺩﺍﺳﺘﺎﻥ ﻭﺍﻗﻌﻰ ﻛﻪ ﻣﻦ‬ ‫ﺑﻐﺾ ﭼﻨﺪﻳﻦ ﺳﺎﻟﻪﺍﺵ ﺭﺍ ﺑﺸﻜﻨﺪ‪ .‬ﻭﻗﺘﻰ ﻣﻦ ﺑﺎ‬
‫ﺩﻳﮕﺮ ﺟﻮﺍﺏ ﻧﻤﻰﺩﻫﺪ‪.‬‬ ‫ﺑﺎﻳﺪ ﺭﻭﻯ ﺁﻥ ﺗﻤﺮﻛﺰ ﻛﻨﻢ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻭ ﭼﻪ‬ ‫ﺍﻓﺸﻴﻦ ﺁﺷﻨﺎ ﺷﺪﻡ ﺍﺭﺗﺒﺎﻁ ﺍﻭ ﺑﺎ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻧﻰ‬
‫ﻃﻮﺭ ﻣﻮﻓﻖ ﺷﺪ‪ .‬ﻳﻌﻨﻰ ﺩﺭ ﮔﺬﺷﺘﻪ ﻳﻚ ﺍﺗﻔﺎﻗﻰ‬ ‫ﻗﻄﻊ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺣﺘﻰ ﻫﻤﺴﺮ ﺍﻭ ﺍﺯ ﺍﻳﻨﻜﻪ ﻣﻦ‬
‫‪‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻋﻼﻭﻩ‬ ‫ﺍﻓﺘﺎﺩﻩ‪ ،‬ﺧﻴﻠﻰ ﻏﻢﺍﻧﮕﻴﺰ ﻭ ﻣﻬﻢ ﺑﻮﺩﻩ ﻭﻟﻰ ﺍﻳﻦ‬ ‫ﻭ ﺍﻓﺸﻴﻦ ﻓﺎﺭﺳﻰ ﺣﺮﻑ ﻣﻰﺯﺩﻳﻢ ﻣﺘﻌﺠﺐ‬
‫ﺑﺮ ﻓﻴﻠﻢﺳﺎﺯﻯ ﺩﺭ ﻣﺪﺭﺳﻪ ﻣﻠﻰ ﻓﻴﻠﻢ ﻭ‬ ‫ﻣﺎﺟﺮﺍﻫﺎ ﻫﻤﻪ ﺩﺭ ﮔﺬﺷﺘﻪ ﺑﻮﺩﻩ ﻭ ﻳﻚ ﺧﻄﻰ ﻭ‬ ‫ﻣﻰﺷﺪ ﻛﻪ ﻣﺎ ﺑﻪ ﭼﻪ ﺯﺑﺎﻧﻰ ﺑﺎ ﻫﻢ ﺣﺮﻑ‬
‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﺍﻧﮕﻠﻴﺲ ﻧﻴﺰ ﻣﺸﻐﻮﻝ ﺗﺤﺼﻴﻞ‬ ‫ﻣﻰﺯﻧﻴﻢ ﻛﻪ ﺍﻭ ﺗﺎ ﺑﻪ ﺣﺎﻝ ﺁﻥ ﺭﺍ ﻧﺸﻨﻴﺪﻩ ﻭ‬
‫ﻫﺴﺘﻴﺪ ﺗﻔﺎﻭﺕ ﻣﺴﺘﻨﺪﺳﺎﺯﻯ ﺍﻳﺮﺍﻥ ﺑﺎ‬ ‫ﺣﺲ ﻧﻜﺮﺩﻩ‪ .‬ﺭﻓﺘﻪ ﺭﻓﺘﻪ ﺭﺍﺑﻄﻪ ﻣﻦ ﻭ ﻓﻴﻠﻢﺑﺮﺩﺍﺭ‬
‫ﺑﺎ ﺍﻓﺸﻴﻦ ﺻﻤﻴﻤﻰ ﻭ ﺧﻮﺩﻣﺎﻧﻰ ﺷﺪ ﻭ ﺩﺭ ﻃﻮﻝ‬
‫ﺍﻳﻨﺠﺎ ﺭﺍ ﭼﮕﻮﻧﻪ ﻣﻰﺑﻴﻨﻴﺪ؟‬ ‫ﮔﭗ ﻭ ﮔﻔﺖ ﻭ ﮔﻮﻫﺎﻯ ﻃﻮﻻﻧﻰ ﻛﻪ ﺩﺍﺷﺘﻴﻢ‪،‬‬
‫‪-‬ﺩﺭ ﺍﻳﺮﺍﻥ ﺍﺳﺘﻌﺪﺍﺩﻫﺎﻯ ﺧﻴﻠﻰ ﺧﻮﺑﻰ ﺩﺍﺭﻳﻢ‬ ‫ﻫﻤﺴﺮ ﺍﻭ ﺑﺎﻻﺧﺮﻩ ﻣﺘﻮﺟﻪ ﻓﺮﻫﻨﮓ ﻣﺘﻔﺎﻭﺕ ﻣﺎ‬
‫ﻭﻟﻰ ﺳﻴﺴﺘﻢ ﺗﻮﻟﻴﺪ ﺧﻮﺑﻰ ﻧﺪﺍﺭﻳﻢ ﻳﻌﻨﻰ ﺗﻮﻟﻴﺪ‬ ‫ﺷﺪ ﻭ ﻋﻼﻗﻤﻨﺪ ﺷﺪ ﺗﺎ ﺩﺭ ﻣﻮﺭﺩ ﻓﺮﻫﻨﮓ ﺍﻳﺮﺍﻧﻰ‬
‫ﺧﻴﻠﻰ ﻧﻈﺎﻡﻣﻨﺪ ﻭ ﺗﺎﺑﻊ ﻗﺎﻧﻮﻥ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻨﺠﺎ‬ ‫ﺑﻴﺸﺘﺮ ﺑﺪﺍﻧﺪ ﻭ ﺣﺘﻰ ﺍﺯ ﻣﻦ ﺩﺭﺧﻮﺍﺳﺖ ﻛﺮﺩ‬
‫ﺗﻮﻟﻴﺪ ﻣﻨﻄﻘﻰ ﻭ ﻣﺸﺨﺺ ﺍﺳﺖ‪ ،‬ﻫﻤﻪ ﺑﻪ ﻫﻢ‬ ‫ﻳﻚ ﺭﻣﺎﻥ ﺍﻳﺮﺍﻧﻰ ﺑﻪ ﺍﻭ ﻣﻌﺮﻓﻰ ﻛﻨﻢ ﻛﻪ ﻣﻦ‬
‫ﺗﻌﻬﺪ ﺩﺍﺭﻧﺪ ﻭ ﻛﺎﺭ ﺭﺍ ﺑﺎ ﺩﻗﺖ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ‪،‬‬
‫ﻫﺮ ﻓﺮﺩﻯ ﻛﺎﺭﻯ ﺭﺍ ﻛﻪ ﺑﻪ ﺍﻭ ﻣﺤﻮﻝ ﻣﻰﺷﻮﺩ ﺑﺎ‬
‫ﺩﻗﺖ ﻭ ﺑﺎ ﺗﻌﻬﺪ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﺪ ﻭ ﻓﻜﺮ ﻣﻰﻛﻨﺪ‬
‫ﻛﻪ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭ ﺯﻧﺪﮔﻰﺍﺵ ﺍﺳﺖ ﻭ ﻫﻴﭻ ﻭﻗﺖ‬
‫ﻣﻨﺘﻈﺮ ﺁﻥ ﻛﺎﺭ ﺧﻮﺑﻰ ﻧﻤﻰﻣﺎﻧﺪ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ‬
‫ﻳﻚ ﺭﻭﺯ ﻭﻗﺖﺍﺵ ﺑﺮﺳﺪ‪ .‬ﺍﻣﺎ ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ‬
‫ﺩﺍﺳﺘﺎﻥﻫﺎ ﺩﺭ ﺍﻳﺮﺍﻥ ﺧﻴﻠﻰ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ‬

‫ﻫﺴﺘﻨﺪ‪.‬‬

‫‪‬ﻭ ﭘﺮﻭژﻩﻫﺎﻯ ﺁﻳﻨﺪﻩ ﺷﻤﺎ؟‬
‫‪-‬ﻛﺎﺭﻫﺎﻯ ﺁﻳﻨﺪﻩﺍﻡ ﺧﻴﻠﻰ ﺯﻳﺎﺩ ﺑﺴﺘﮕﻰ ﺑﻪ‬

‫ﻣﺪﺭﺳﻪ ﻓﻴﻠﻢ ﺩﺍﺭﺩ ﻛﻪ ﻣﺮﺍ ﺗﺎ ﭼﻪ ﺳﻄﺤﻰ‬ ‫ﺩﺭ »ﻣﻮﻭﻳﺖ ﺁﻧﺪﺭ ﮔﺮﺍﻧﺪ ﻓﻴﻠﻢ ﻓﺴﺘﻴﻮﺍﻝ« ﺩﺭ‬ ‫ﺗﻤﺎﻡ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﻜﺸﺎﻧﺪ‪ .‬ﻫﺮ ﺭﻭﺯ ﺁﻧﺠﺎ ﺑﺮﺍﻯ ﻣﻦ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪،‬‬ ‫ﭘﻨﺴﻴﻠﻮﺍﻧﻴﺎﻯ ﺁﻣﺮﻳﻜﺎ ﺷﺮﻛﺖ ﻛﺮﺩﻳﻢ ﻛﻪ ﺍﻳﻦ‬ ‫ﮔﺬﺷﺘﻪ ﺭﺍ ﺩﺭ ﻣﺴﺘﻨﺪﺳﺎﺯﻯ ﻣﺸﺎﻫﺪﻩﺍﻯ ﻧﻤﻰﺷﻮﺩ‬
‫ﻳﻌﻨﻰ ﻣﻦ ﺩﺍﺭﻡ ﻫﺮ ﺭﻭﺯ ﺗﻐﻴﻴﺮ ﻣﻰﻛﻨﻢ ﻭ ﻭﺍﻗﻌﺎ‬ ‫ﻓﺴﺘﻴﻮﺍﻝ ﻳﻚ ﺟﺸﻨﻮﺍﺭﻩ ﺑﺰﺭگ ﻫﻨﺮﻯ ﺍﺳﺖ ﻭ‬ ‫ﺑﺎ ﺩﻳﺪ ﻭﺳﻴﻌﻰ ﻧﮕﺎﻩ ﻛﺮﺩ ﻭ ﺑﺎ ﺟﺰﻳﻴﺎﺕ ﺑﺮﺭﺳﻰ‬
‫ﻫﻨﻮﺯ ﻧﻤﻰﺩﺍﻧﻢ ﺩﺭ ﺁﻳﻨﺪﻩ ﻛﺠﺎ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﺎﺷﻢ‪.‬‬ ‫ﻓﻘﻂ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺴﺘﻘﻞ ﺍﺯ ﻫﺮ ﺳﻄﺤﻰ ﺩﺭ ﺁﻥ‬ ‫ﻛﺮﺩ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﺩﺭ ﻣﺴﺘﻨﺪﺳﺎﺯﻯ ﻣﺸﺎﻫﺪﻩﺍﻯ ﺁﻥ‬
‫ﻣﺪﺭﺳﻪ ﺫﻫﻦﺍﻡ ﺭﺍ ﻣﺎﻧﻨﺪ ﺧﻤﻴﺮ ﺑﻪ ﺳﻤﺖ ﻭ‬ ‫ﺷﺮﻛﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺩﺭ ﺁﻥ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻪ ﻣﺎ ﮔﻔﺘﻨﺪ‬ ‫ﭼﻴﺰﻯ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺍﺗﻔﺎﻕ ﻣﻰﺍﻓﺘﺪ ﺧﻴﻠﻰ‬
‫ﻣﺪﻝﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻣﻰﻛﺸﺎﻧﺪ ﻭ ﻣﻤﻜﻦ ﺍﺳﺖ‬ ‫ﻣﻬﻢ ﻭ ﻋﻤﻴﻖ ﺍﺳﺖ ﭼﻮﻥ ﻣﻰﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺩﻳﺪ ﻭ ﺑﻪ‬
‫ﺩﺭ ﺁﺧﺮ‪ ،‬ﻛﺎﺭ ﻣﺘﻔﺎﻭﺗﻰ ﺍﻧﺠﺎﻡ ﺑﺪﻫﻢ ﻛﻪ ﺍﺻﻼ‬ ‫ﻛﻪ ﻓﻴﻠﻢ ﺑﺴﻴﺎﺭ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺒﺎﻝ ﻭﺍﻗﻊ ﺷﺪ‪.‬‬ ‫ﺗﺼﻮﻳﺮ ﻧﺸﺎﻥ ﺩﺍﺩ ﻭﻟﻰ ﮔﺬﺷﺘﻪ ﺭﺍ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﻴﻢ‬
‫ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﺩﺭ ﻧﻮﺍﻣﺒﺮ ﺩﺭ »ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﺯﻧﺪﻩ ﻛﻨﻴﻢ‪ .‬ﺑﻨﺎ ﺑﺮ ﺍﻳﻦ ﺍﺷﺘﺒﺎﻩ ﺍﺳﺖ ﻓﻜﺮ ﻛﻨﻴﻢ‬
‫ﭘﻴﺶﺑﻴﻨﻰ ﺁﻥ ﺭﺍ ﻧﻤﻰﻛﺮﺩﻡ ‪.‬‬ ‫ﺣﻘﻮﻕ ﺑﺸﺮﻯ« ﺑﺎﺭﺳﻠﻮﻥ ﺷﺮﻛﺖ ﻛﻨﻴﻢ؛ ﺍﻳﻦ‬