Tag: filmmaker

Unique Voices in Films

by Weam Namou, posted in community, Consciousness, Spirituality, writing

In 2009, Nabil Nona decided to study acting and filmmaking and felt it was one the best decision he had ever made. A year later he wrote, acted in, produced and directed his first short film. Since then he has been producing and directing other shorts, TV commercials, music videos and TV shows. His goal is to keep creating and making meaningful films or shows that entertain the audience but also make them think after watching the film.

Nabil, who’s on the Board of Unique Voices in Films, is a producer and director known for Nightmare (2011), The Summoner and Consequences (2017).  Born in Iraq in 1971, he was as a child infatuated with American cartoons, movies, and TV shows. He learned English by listening to American dialogue and reading subtitles in Arabic.  Nabil immigrated to the United States in 1994 where he found himself going to theaters to watch the latest movies, analyzing every performance by the actors, cinematographers, and directors. He would wait for the movie to come on DVD to watch it again but with the added bonus of behind-the-scenes footage where it explains how the movie was made and how the actors performed under whatever conditions and still gave their best.

I interviewed Nabil on my TV show (watch the youtube video) and here he tells us a little about himself.

Was there a particular event or time that you recognized you wanted to be a filmmaker?

Since I was a child, I was always interested in films especially how they were made. I would always look for extra footage of the film and see how the director made the film. In 2009 I studied acting, and after that I became more interested in making a film even more than being an actor in a film.

How did you start in film and what keeps you going?

In 2010 I made my very first short film. I wrote, acted, directed and produced a 2 minute slow motion scene followed by a 5 minute second scene 2 weeks later. It was a great experience and from that I decided to explore doing more shorts then music videos and TV commercials.

What was the most important lesson you had to learn that has had a positive effect on your work? 

I realized that team work is the most important aspect in making a film project. You cannot do everything on your own no matter how talented you are and you will always need the help of other talented people to complete your film project.

Making a film requires a team. How did you discover your team and how do you keep the relationship with them? 

When working on different projects, I meant many talented people in the film industry and I formed a solid relationship based on mutual respect. I stay connected with them and would love to work with them on future projects, hopefully.

How do you nurture your filmmaking skills and talents?

I keep myself informed and I try to learn from other filmmakers. I try new things even if I fail at times but I keep trying until something great comes out.

What makes a film great for you?

The story, the performance execution of the cast, the well-directed scenes, and the editing process which includes music and sound design.

What films have been most inspiring and influential to you and why? 

The Devil’s Advocate, The Matrix, Good Fellas, The Exorcist, Inception, The Dark Knight, Sleepers, Fight Club, The Mask, Reign of Fire, 300, The Hangover, and many more.

How did your love for movies start and what can be done to help others discover similar pleasure and appreciation for film? 

Since my early childhood, I would watch movies on TV. I was fascinated by all of it and I would be hungry for more films to watch, however, I didn’t have the resources we have today. Creative people love movies, because movies are the interpretation of our imagination, and in movies we see that imagination comes to life. The more we imagine the better chance we have into making it into a movie.

What failures have you been able to learn from? How did they change you and your process?

Making a film project without having a budget is extremely difficult, but the good part you learn how to be creative and use whatever resources you can use that are not money.

What is the most important advice you can give a filmmaker starting out?

Do small but completed projects, even if you have the budget for your project, do not start with big long projects where you may not be able to complete or execute them the right way. Start small and bigger as you go, because whether you make a 5 minute film or a 2 hour film, the way you tell your story through the movie is what matters, not the length of the film.

Women Who Create

by Weam Namou, posted in community, Spirituality

I’m currently working on my second feature documentary, Living Tribal in a Democracy, which features three generations of women in my family and sheds light on our Chaldean lineage which dates back thousands of years to ancient Mesopotamia. In May, I gave a talk and screened part of this documentary at a film workshop presented by Creative Many at Wayne State University.

After the talk, a woman approached me to tell me that she enjoyed watching the footage and appreciated that I was portraying real-life stories of Middle Easterners, particularly women, since they are often pigeonholed in books, media, and films. The woman’s name was Parisa Ghaderi, and Parisa, it turns out, was doing similar work. Like me, Parisa is an award-winning filmmaker who has dedicated herself to her talents while, along the way, using her influence to help other artists as well.

Parisa was born in 1983 in Tehran, Iran and moved to the United States in 2009. A visual artist, curator, and filmmaker, she earned her BA in Visual Communications from Art & Architecture University in Tehran, Iran, and her MFA in Art and Design from the University of Michigan. Her work has been exhibited nationally and internationally and she is featured in The Huffington Post, The Brooklyn Rail, and many other prestigious magazines. She has made four short films which won awards and were screened in international film festivals in Germany, Australia, Indonesia, Ireland, and California.

Impressed by her work, I invited her on my show. In this half-hour interview, Parisa shares how she’s dispelling misconceptions about her Iranian heritage, what it’s like to be a minority working in her field, her work habits that made her such a success at a young age, and her business tactics which are essential to sustain ourselves in the creative field.

How has your heritage influenced and affected your art and storytelling as a filmmaker? What have been some of the setbacks? Some of the advantages?

I am an Iranian artist who was born and raised after the 1979 Revolution. Being Iranian has certainly influenced my work as an artist. I come from a country with a rich culture and history. I immigrated to the US in 2009 which changed my creative practice as I was introduced to new concepts such as visa regulations, distance, language barrier, and loss. As a result, I started to focus more on personal stories, childhood memories, language complexities, and the emotional distance I experienced as an immigrant. The advantage of being from Iran is that I have access to my Iranian community here so I can hear their stories and relate to their experience, and get inspiration for my work. I made a short documentary about an Iranian couple who were separated because of visa restrictions which was screened at many festivals and won awards. The setback is specifically, for this exhibition, we faced various problems in terms of selling the artworks due to lack of financial transactions and inviting the artists to attend their show because of the hostile political climate between the two countries which resulted in the travel ban and more visa restrictions.

What projects are you currently working on?

Right now I’m working on a series of short films with my other Iranian friends, gathering their stories of immigration. I’m also working on a performance about borders which I have started a few months ago and was able to workshop it with acting students at UofM. I plan to finish these two projects by the end of next year.

What’s your schedule like?

I constantly research and look for grants and funds to support my projects. I read and research about my new projects, reach out to people and ask for feedback. I also teach drawing and photography every week from 2014 to my fellow Iranian friends. This fall, I will be a graphic design assistant professor at MSU which I’m very excited about.

How do you balance your creative and business side?

As an artist, it’s been always a challenge to balance these two, since the financial aspect sometimes restricts your creative plans. I’m aware that having a steady income, especially at the start of your art career will actually help keep you creative and prevent burnout when you don’t have to worry about supporting yourself through your art, and It’s great if you can do both, but usually, I need to prioritize and structure it. For me, the creative side has always been a priority and I keep generating ideas and look for funding to realize them as I also work as a freelance artist to support my practice.

What is “7500 Miles”? How and why was it started? Tell us a little about Mahsa Soroudi, the founder of 7500 Miles.

7500 is a collective which curates and promotes exhibitions to focus on contemporary Iranian artists who are disregarded or unseen due to the absence of fair exposure.

‘7500 Miles’ refers to the distance between California, where Mahsa currently lives, and her hometown Tehran. Mahsa and I graduated from the same college, so our friendship dates back to 2006. Mahsa was working as a docent at Orange County Museum of Art, OCMA, since 2013 and she was frustrated by the image of Middle-eastern women represented in the media as oppressed and weak, overshadowing their potentials and talents. This project was initially started by Mahsa in 2015, and I joined her later when we realized how much we were interested in this idea and shared the same concerns.

The majority of Iranian artists in the diaspora have represented a different image of Iran due to the time they had left the country, 1979-1986. Their imagery is directly influenced by tragic events of revolution and war. But the new generation of artists have found their unique creative way of reflecting on current socio-political tensions. Our goal in 7500 miles is to focus on this younger generation to portray modern Iran in a different way. As artists and curators, we feel highly responsible for creating a more nuanced depiction of a group of Iranian female artists and their distinctive art practice which has developed through their tireless effort, regardless of all the challenges and complications.

“7500 miles” creates a platform to showcase and promote the work by the new generation of women artists in Iran, with the hope to go beyond clichés and what has been shown in media and the art world so far.

Parisa3.jpg

As a curator, how do you specifically choose the artwork that’s submitted?

As curators, we are constantly looking for new artists with a fresh perspective and creative ideas. Since we are both artists ourselves and belong to the same generation of artists we represent, we have access to a wide network of artists inside Iran, who are active and prominent in the art scene. We interview them or have studio visits, and then choose their work based on the theme of the exhibition and how their work speak to each other as a group.

What advice would you give minority women artists who feel they don’t have the support or mentorship to pursue their passion?

If they don’t find the support they need, they should create it, and be the resource for others who seek their help. Forming collective and collaboration with like-minded people and those who share the same concerns, struggles, and passions. They need to reach out to other creatives, never give up and stay positive, because sooner or later it will happen.

If they see the misrepresented and distorted image of their country, they need to stand up and make the change, and not reproduce the misinformation the media projects. They need to keep that passion alive and burning, as a fuel for moving forward and overcoming all the obstacles ahead regardless of their nationality.

To learn more about Parisa Ghaderi, visit http://www.pghaderi.com/