Ahmed Ezz and Karim Abdel Aziz hosted a film duel. Kira and the Jinn showed forgotten heroes who sacrificed for Egypt

It managed to gross nearly £84 million in revenue, becoming the fastest-grossing film in cinema historyThe Egyptian woman reaches these records in revenue in just 23 days, and the work is expected to reach the highest revenue in the history of Egyptian cinema in the next few days, to confirm the story and screenwriter Ahmed Murad that the movie “Kira Waljen” is an epic movie. And it is not historical, and it is considered one of the biggest and most difficult films in the history of Egyptian cinema, and he indicated in his interview with Al-Fan that the filmmakers relied has on the biography of the film, and that it took a long time to focus so that the director could show it in this excellent picture that won the admiration of all critics and the public, And that the latter is the key to the success of ” Kira Waljen” and any film in general.

The film is based on a novel by you, but called “1919” and there are definitely a lot of changes to it, so what is it?

The movie is the same novel, but there are some dramatic changes that make it possible to introduce the novel into a movie-dramatic area, and I added 7 characters to the work, and I also deleted other characters, and people who read the novel will be surprised when they see the movie with new events, and I also reduced the political dose in the movie about The dose in the novel, the rhythm of the film is disciplined and the changes were in its favor, the historical or temporal era of the film has its nature, and I was keen that the dialogue be understood and written in a manner suitable for the viewer, whether at a young or old age, and that the Denshway- accident is a driving force in the events because it took place in In 1906. , and because of him great pressure was put on the English, and 13 years later the revolution took place.

And when did the project start writing to turn it into a movie script?

I started writing the novel in 2012, and it took two years and published it to achieve success, praise be to God, then we started preparing for its presentation in the cinema, me and the director Marwan Hamed. He has a good production, and this is what was available after the movie “The Blue Elephant 2”, so we began to gain more confidence to raise the ceiling of the film’s cost, to the point of a certain position, so we looked at the levels of works that the audience could approach through the platforms, and we could find a good production of the subject. A brave and daring producer, he can deliver a film of this magnitude.

Does the look of the film on screen confirm that it is a big budget movie?

Indeed, the film is a very big risk in production, given its very high cost, which amounted to 104 million pounds, and it is very difficult for production to take an adventure like this, and it is a boldness for which I the production thanks company, and a risk from director Marwan Hamed, who has been working continuously on the film for 3 years. , until it comes out in the form it deserves, it was implemented in 3 years, including a year in which we stopped due to the Corona virus, and during the year of stopping, we recalculated and changed some things because we want to offer something new, and in my opinion, the production is one of the important heroes of the film, and producer Ahmed Badawi took it upon himself to make one of the most difficult films in the history of Egyptian cinema.

It is written at the beginning of the movie that the events and characters are real, but does the imagination control many of them?

Indeed, the events and characters in the film are real, but the imagination controls them to a great extent, because if the events are reported as they are, it will not suit the cinema. The characters in the film are real, but they are not mentioned in history in abundance True stories of a group of Egyptian resistance heroes against the British occupation at the time of the revolution from 1919 to 1924, by forgotten heroes who fought battles and brave sacrifices for independence have, so that the younger generations have the extent of the Egyptians’ love for their country and land, and this quality is widely accepted by the public.

And how was the collaboration with the actors Karim Abdel Aziz and Ahmed Ezz in their first movie meeting? Were they two protagonists in your imagination?

The collaboration with Karim Abdel Aziz is very fruitful for me, because it is the third collaboration between us after “The Blue Elephant 1” and “The Blue Elephant 2”, and Karim Abdel Aziz is one of the stars who taste and taste the most cinema . understood in directing and was very flexible in handling, as well as Ahmed Ezz The two were very helpful and had a wonderful cinematic duel.
And when I start to write a novel, I don’t intend it to be a movie in the first place, so that the imagination remains free, but the star is the one who “tunes” to the character, and it makes the challenge even greater, and we found Karim Abdel Aziz, Ahmed Ezz, Hend Sabry, and all the heroes of the film in a way. Unlike the usual with foreign heroes, it is also added.

Marwan Hamed Tayma made successful and director.. How do you see collaboration with him?

Director Marwan Hamed is a sophisticated man at work, looks at the future differently, is very precise and likes details, and I very much agree with him, as he has film experience that allows me to learn from him, and he has flexibility at the job, and I’m happy to work with him.

You showed your interest in women during the events by highlighting their role in the resistance?

The role of women in this film was very important to me, I was keen to show her not as a follower or a role that can be replaced, and this was very important, as women were presented in the theater in the past is as if they lost their entire role in an unfair way, but women’s jobs live, and therefore not It must be taken care of.

Is it possible to turn “Kira Waljen” into an eight-episode drama series every two hours?

Indeed, it could be because of the dramatic treatment, because everything is doable, but on a personal level, if I was given a choice between drama and film, I would choose to do it in the cinema.

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