The Egyptian star Ahmed Ezz described the film «the corridor» as a leap that makes him an honorable artistic history, considering his role in the work, which achieved record revenues at the box office, a badge on the chest and the most important thing in his career, expressing his happiness for the success and great resonance achieved «corridor ».
In an interview with Emirates Today, Ezz revealed the details of the film he sees as an epic, how to prepare it, and the serious training that the team has undergone to be “real officers, not merely performing their roles.” So they lived two months of serious training in the desert in uniform. “The artist, like the soldier, the fighter, the policeman, and any individual has a national role out of belonging and love,” he said. “I don't consider the actor merely a person who offers entertaining roles, even though art is primarily entertaining and has a great role in it. And art is looking for fun people, but if things require the presence of th Nan in the field officer or a military man must have a role ».
"I am happy with my experience in this film, because it is a work of history, and I consider it an honor and a medal on my chest, and perhaps the most important point in my history, and I agreed to it as soon as it was presented to me by director Sherif Arafa, who I see as the most important director in Egypt."
From frustrations to victories
"The story of a work I did not experience completely, a period of setback in 1967, and the pain suffered by the Egyptian people in all its spectrum, whether leaders or citizens, and explained the film the suffering of the army The people of frustrations then turned them to great victories. Certainly all of these elements made me feel like a military site, the film was a matter of life and death and the presence of Sharif Arafa is the first safety valve for me, because the implementation of a film with such sensitivity and modern techniques suitable for the audience of 2019 is almost a suicide mission. ''
The Egyptian star continued: «The preparations for the film were no less serious than we are really on the verge of a real war; the director insisted about two months before the filming to conduct real training while wearing military uniforms (Avarol), and the whole training in the desert between Hurghada and Suez .. We were We go daily in July and August, and the temperature in the desert exceeds 50 degrees Celsius, and all that because the director wanted one thing is to be on the screen real officers and not representatives embody their roles .. He remained with us until we reached this conviction, and implemented with great love because we imagined ourselves Real officers in battle, and we are not represented in artistic work".
In the language of art
Making a 1967 war film Some may see it as risky, especially if it is shown in commercial entertainment, and in light seasons that its audience tends to do simple. “In the language of the market, I can agree, but in the language of art and creativity, it is illogical or convincing to me. I will not deny that the public may be looking for a light film at Eid, but why? Because he does not find important and integrated work. Filmmakers may have imposed lightness on Eid films as well as summer and made them a feature of the films of these seasons, but if the audience finds good work to follow, in the holiday, summer, winter or spring ».
He went on to say: "Let's look at international films; they show what you want whenever you want. Comedy or tragedy and science fiction; and the public accepts good work without the idea of classifying it as comic, action or tragic."
"I object to the word (Harbi) as a description of the film, as it deals with a period of social, human and warfare," he said. Hind Sabri, Sherif Mounir, Ahmed Flux, Asmaa Abualizid, Ahmed Salah Hosni, Mohamed Farrag and Mohammed Sharnouby ».
He expressed his happiness with the high revenues of the film, which proved that the success of the hardworking ally «there is no empty chair in any ceremony for the film .. I am also very happy with the reactions that described the film as integrated, and carry a message for all generations».
Heavy roles
Dramatic heavy roles, which may be far from the public, such as political figures, how Ahmed Ezz sees them? A question answered by Ezz said: «I do not agree with the saying that there are heavy personalities and other light, and personalities close to the public and a distant second; each character is important as long as the flesh and blood and have a role in the events of the work of art .. But I do not deny that I am in search of diversity Innovation, weight and gratification are becoming more important points: Is the character new and useful to me technically? Are you going to put it in my CV? Will the public remember them in years? Is this really my goal in this period? I do not deny that I am currently not looking for the idea of popular popularity as much as I am looking for its importance, and will it be a leap in my history and make me an artistic history that lives after my death, and be an honorable history as we watch black and white films and proud of those who gave them ».
He added about the introduction of the officer in a row in the films «cell» and «corridor» that «the character is dramatic and very rich and different, in (the cell) police officer, and (corridor) army officer in the navy, as each character has its context, circumstances and story The officer, the terrorist, the player or the painter hundreds of times in different ways as long as the subject is different. ”
He touched on his other film, which was released recently, the second part of «Awlad Rizk», pointing out that «the success of the first part was the main reason for the submission of a second part, and the film starring Amr Youssef In the new part Khaled Al-Sawy and Bassem Samra, there is a large action dose of work, in addition to a lot of exciting events that I bet it will appeal to the public ».
Beautiful Time Drama
About his absence from the Ramadan drama, the artist Ahmed Ezz said: «Frankly, I love cinema more than the drama, and if he finds a work of cinema and television and both good, I will choose cinema of course .. I do not like the presence annually in Ramadan, and may be every four years useful, otherwise not Best. The only case that makes me look yearly drama is to find important work in the level of the work of Zaman: (Zezenia) and (nights dream) and (Raafat Hagan) ».
• If the artist is required to be present in the field, either militarily or as an officer, he must have a role.
• «I became interested in personality .. Will it be technically useful? Are you going to put it in my CV? ”