{"id":62196,"date":"2022-11-15T21:26:49","date_gmt":"2022-11-15T20:26:49","guid":{"rendered":"https:\/\/jazairhope.org\/?p=62196"},"modified":"2022-11-15T21:26:49","modified_gmt":"2022-11-15T20:26:49","slug":"emir-abdelkader-elements-for-a-successful-film","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/en\/emir-abdelkader-elements-for-a-successful-film\/","title":{"rendered":"Emir Abdelkader, elements for a successful film."},"content":{"rendered":"

Emir Abdelkader, elements for a successful film.<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0 Writing a biopic can be a real challenge. Not only do you have to navigate the usual difficulties of screenwriting \u2014 from character building to story structure \u2014 but you also have to put in the extra effort of exhaustive research into your subject. You inevitably ask yourself, \u201cAm I doing my subject\u2019s story justice?\u201d \u201cAm I qualified to tell their story?\u201d \u201cAm I doing this right?\u201d \u201cHow do I even begin the process!?\u201d<\/em><\/p>\n

1- Avoid past mistakes:<\/strong><\/p>\n

In 2013, we tried to make a film on Emir Abdelkader and we realized that the money alone was not enough since the absence of responsible professional elements who could lead it to a successful conclusion ended up killing it.<\/p>\n

In 2013, we chose a Palestinian to play the role of the emir. We brought him to Algeria to teach him to speak Algerian. You might as well choose an Algerian from the start in this case. Investing enormous sums to make a film in a local language which will inevitably reduce its audience and being forced to subtitle it even in Arab countries is another nonsense. That was the first mistake.<\/p>\n

The second mistake was to involve a non-Algerian in writing the screenplay.<\/p>\n

The soul of a film is the screenplay<\/strong>. Here, the screenwriter must be Algerian because the screenplay of the film on the Emir is both a patriotic commitment and a moral responsibility since the successful work will be a source of pride for the country if the film is successful or a source of derision otherwise.<\/p>\n

A third nonsense (3rd error) is to have refined the screenplay \u201cdownstream\u201d when it should be done \u201cupstream\u201d and not after having chosen the producer and the director.<\/p>\n

2- Prior importance of the screenplay:<\/strong><\/p>\n

Any action to materialize the film requires the prior existence of the screenplay.<\/p>\n

No big-name star or renowned director will commit to a film without first seeing the screenplay.<\/p>\n

3- A quality screenplay.<\/strong><\/p>\n

You can make an awful film from a wonderful screenplay, but the opposite has never been true.<\/p>\n

4- How do you know that you have the right screenplay? <\/strong><\/p>\n

It’s simple. It is to have it validated by a few notable specialists? to have written feedback and thus be able to objectively assess the viability of this scenario on an artistic level before starting the financial investment, which will undeniably be important.<\/p>\n

Once this step is completed, we will have secured a good big- screenplay for the next step: the production team.<\/p>\n

5- The production team:<\/strong><\/p>\n

With a good script in hand, common sense dictates finding an excellent director, outstanding actors, and a very good technical team with whom the film can face the world once finished.<\/p>\n

Since the film on the emir will not only be the showcase that will present our millennial identity to the world but is a blockbuster, a film with very significant commercial potential and large advertising investment, as its promoter asserts:<\/p>\n

\u201cThe Al Djaza\u00efri public establishment handles \u201cdistributing the film and its derivatives on the national and international market on any exploitation medium, of exploiting the film and its derivatives, of managing the recovery of the moral and financial rights of the film and its derivatives, and to ensure communication and publicity around the film”.<\/p>\n

What logic does this choice imply?<\/p>\n

6- The choice involved:<\/strong><\/p>\n

This choice implies a director and a technical team of advanced professional class to reach the whole world and to make profits.<\/p>\n

So, you have to have the courage to take the step that this choice implies.<\/p>\n

7- What will be the step to take?<\/strong><\/p>\n

The international dimension of the project requires that the version of the film be also international and therefore in English<\/strong> as was the case for Omar El Mokhtar, Gandhi, and Lawrence of Arabia.<\/p>\n

The version in Arabic and the world’s main languages will come next.<\/p>\n

With a very good screenplay and following the approach mentioned above, we can move on to the stage of forecasting the situation on the real ground, the DESIGN of the film. It is the work of professionals who project the film on paper before shooting it and there, for a film of this kind, we will need CGI technology.<\/p>\n

8- What is CGI technology?<\/strong><\/p>\n

CGI technology is an acronym, which means: computer-generated imagery. Computer-generated images and synthetic images are therefore part of the special effects in films.<\/p>\n

They are often used to reproduce:<\/p>\n

– Water, fire, and smoke as much in their form as in their movement.<\/p>\n

– Replace objects, furniture, and characters: monsters, animals, humans.<\/p>\n

– A whole environment: Mountains, forests, deserts, armies, and even entire cities.<\/p>\n

 <\/p>\n

9- Needs of the film on the Emir in CGI:<\/strong><\/p>\n

\u00a0 THE COMBATS:<\/strong><\/p>\n

– The French landing at Sidi Ferruch. The hundreds of boats and the thousands of soldiers and horses and armaments.<\/p>\n

– Explosions from cannons and other firearms.<\/p>\n

– The battle scenes between the Emir’s soldiers and the French: thousands of extras and horses.<\/p>\n

FILM SET DESIGN:<\/strong><\/p>\n

Architecture:<\/strong><\/p>\n

– The palaces of the Turks<\/p>\n

– Mascara (old)<\/p>\n

– Battle of Ain-Madhi (architecture of the city of Sidi Mohammed El-Tidjani.)<\/p>\n

– GUETNA birthplace of the emir and the Zaouia.<\/p>\n

– French castles (deportation of the emir)<\/p>\n

– Syria: House of the Emir and period environment.<\/p>\n

The actual construction of these elements will cost a considerable investment if not impossible.<\/p>\n

So, for the sets, only buy and build what is essential and on the decision of recruited professionals and leave the rest to the CGI where the production costs are far lower.<\/p>\n

\u00a010- Final movie:<\/strong><\/p>\n

Once the film is finished, French, English, Spanish, Arabic, Asian and other areas will be waiting to see our film.<\/p>\n

What film will we show them?<\/p>\n

Just one more Algerian film for film fans around the world or will they see the birth of an Algerian cinema as we used to say Soviet cinema, Italian cinema, Indian cinema, a cinema of quality and strongly anchored in our values?<\/p>\n

11- CONCLUSION:<\/strong><\/p>\n

The film on Emir Abdelkader must be a decisive turning point in Algerian cinema because it must imperatively cover its costs and generate profits which will be the basis of financing future films.<\/p>\n

SCREENPLAY<\/strong><\/p>\n

Aesthetic WRITING problems to solve for the film on Emir Abdelkader.<\/p>\n

1- Let’s start with the hero’s name to make known to young Algerians and the world.<\/p>\n

Emir Abdelkader El-Djaza\u00efri. El-Djaza\u00efri, that is to say, the Algerian. The entire character is already contained in the title of the film. Being Algerian means that he carries values \u200b\u200bspecific to this country and which date back to the dawn of time.<\/p>\n

Since the man is multi-faceted, which facet best meets the current expectations of the world and those of Algerian youth?<\/p>\n

It is a question of offering a model of identification to Algerians and the world through the genius of screenwriting and production.<\/p>\n

2- WRITING PARADIGMS<\/strong><\/p>\n

Among the screenwriting paradigms that exist around the world (there are about ten of them), which paradigm to choose?<\/p>\n

3- HERO DEVELOPMENT ARC<\/strong><\/p>\n

If the Emir is a hero, and he is, how do you show his personality development arc with its ups and downs cinematically and make it an evolving unit?<\/p>\n

4- THEME AND MESSAGE<\/strong><\/p>\n

A screenplay (a film) has a goal to achieve and a message to convey. How to reach them without seeming to deliver a boring academic course to an audience that will not remain glued to their seat for 20 minutes and remain in the field of enlightened entertainment, far from a documentary film genre kind?<\/p>\n

How to work so that this scenario gives a film on the Emir which is a model of identification for our youth and those to come, to propose to humanity, through the personality of the Emir a humanist vision specific to us?<\/p>\n

How to present our national hero not as a superhero but, just a man, certainly exceptional but humble and human, who loves his family, his tribe, his country, who has cultivated himself and who has continued to learn all his life and, depending on the moment, chief, father of a family, warrior, poet or a man of religion.<\/p>\n

In the end, what does it mean to be Algerian?<\/p>\n

5- PROPOSED SOLUTIONS<\/strong><\/p>\n

An International Version in English of the scenario<\/strong> for a film of TWO HOURS answers these questions and allows without delay to begin the contacts with the professionals to concretize this film of world scale towards which the eyes of the Algerians remain turned with much hope.<\/p>\n

This bet can be won.<\/p>\n

Abdelouahab Hammoudi<\/strong><\/p>\n

Novelist-Screenwriter<\/strong><\/p>\n

Author of the script:<\/strong><\/p>\n

Abdelkader, the Algerian.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Emir Abdelkader, elements for a successful film. \u00a0\u00a0\u00a0\u00a0 Writing a biopic can be a real challenge. 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