Kianoush Ayari, besides being author and having unique view towards cinema and filmmaking, has always been cherished and known as independent in his inclination, taste, performance and attitude both in his personality and profession. He, as the director of films such as “Abadani-Ha” (The Abadanis) and “The Paternal House”, has been teaching to the cinema lovers and young filmmaker in Iranian National School of Cinema since last year for conveying and imparting his experiences and knowledge. After the debates about the fate of the National School of Cinema, as the center which was founded directly by the Cinema Organization, in an interview with Shargh Daily, Ayari elaborated and shared his personal experience and perception.
- You had not get involved in any educational activities related to cinema prior to your cooperation with the School; but it seems that National School of Cinema is the first center that you are collaborating with in the domain of education, doesn’t it?
I was working and teaching in educational workshops a few years ago for a short period of time. I think it was around 2008 and 2009. These workshops were held in Isfahan.
- What made you convinced to share your experience and knowledge with the young filmmakers in this School?
During the past years, occasionally, I used to go and watch the works of the young filmmakers’ in Felestin Cinema on Mondays and Wednesdays when “Iranian Youth Cinema Society” displayed and screened them. The films were great and encouraging. And I was reinvigorated and inspired. In response to their questions, I often said: “I am here to get elevated and enthused!” Generally speaking, watching the young filmmakers’ movies makes me energetic and inspired. This incident had me to have a positive and good view to young filmmakers. During these long years, I have been the juror of many short film festivals and it has always been very exciting for me. I felt that, I as an old filmmaker, should not be recessed because of my aging. When the “National School of Cinema” was founded and I was invited to share my experiences and knowledge to young cinema lovers and filmmakers, I accepted it willingly and wholeheartedly. And I should emphasize that this Cinema School has been the best channel and the least costly way to nurture a couple of young filmmakers up to the present. Undoubtedly, we will have some great young filmmakers among the graduates of this School. Some of the pupils’ films which I watched recently were really encouraging and good. There are, certainly, other learners like the ones in this School in other filmmaking Academies; but this School is based on some particular principles and accordingly moves forward. It is based on a discipline which I hope within this environment, there will be commitment as well; I hope they will start their professional carrier very soon. I mean within four or five years. Some may begin earlier and some may kick off a little bit later. But, in my opinion, all 20 persons chosen for taking the cinema courses in the National School of Cinema, are able and capable of being good filmmakers. It is not a claim merely; their works prove my words.
- What are your recommendations to manage this school more purposefully and effectively?
It is common that some may oppose the works which are done properly and try to get it dragged. I don’t know who opposes this educational happening. But dogmatism seems to be one of the features of the group who obstructs the trend. The School is doing its job appropriately and correctly. There may be some problems which can be resolved. It may make some mistakes, but it is not a big deal. They can be solved. Instead, its positives and advantages and the future that it promises, herald that the Cinema School is precious and significant.
- In your opinion, what are the interdisciplinary courses related to cinema to complement it, if any?
The Social Science can be the most important of all. The academic knowledge and perspective to culture and art. Whatever I am considering, Cinema will need it sometime in future. But it doesn’t mean that a filmmaker should be an expert in all these domains.
Interview by Amir Mohaghegh