Entertainment
Saudi multi-trait Hisham Fageeh explains how Hollywood can help Arab TV
Saudi comedian, actor, writer and producer Hisham Fageeh posted a satirical YouTube video titled “No Woman, No Drive” in 2013 which became the country’s most popular YouTube video and likely helped the movement lift the ban. imposed on motorists by Saudi Arabia. at the end of 2017. He also starred and co-produced the groundbreaking Saudi romantic comedy “Barakah Meets Barakah”. Recently, Fageeh was appointed director of the Middle East Media Initiative (MEMI) at USC’s School of Film Arts, the training and mentoring program launched in 2018 to boost the careers of Arab television writers and producers who Now has ties to the Cairo Film Festival and The Emerging Red Sea Festival in Saudi Arabia. He spoke to Variety about what he sees as some of the sore spots in Arab television.
What have you been doing since “Barakah”?
I tried to work on regional television, using the momentum of this film. I did some decent stuff. I have been the creator and show runner of three different shows. But, alas, it was not written, as they say.
I discovered, being completely honest with myself, that I had some shortcomings as a writer. I had an initial gift, but still lacked technical know-how and skills, so I got involved with MEMI as a consultant and got involved to understand how it worked and the following year I became instructor. Basically, I have been involved with MEMI since its inception. I also started working on my second feature film, as a producer, with screenwriter and director Anas Ba-Tahaf. It’s called “Fay’s Palette ”and next week it will premiere at Red Sea.
I feel like on Arab TV there has been a leap forward in terms of fresh and innovative narratives. But there is still a long way to go to get more avant-garde, and also of better quality, Arab TV series to the screen. What is your opinion ?
Well, there’s this quantum leap going on, especially in Saudi Arabia, because we’re at this intersection where globalization meets the learning curve of whatever is opening up now. And the industry kind of allows talent to flourish. But, yes, there is still some way to go.
What are some of the pain points?
Personally, I want to see more personalized stories. I want to see the point of view; I don’t want to see all of these happenings and this plot-driven tale. I want to know: who are these characters? This person is based on my mother or my brother. And so they walk; talk like that. This is what USC is really proud of. This idea of creating compelling characters is certainly what MEMI is trying to harness for the region. Because there is no lack of technical skills; no shortage of talented actors. But I think they [Arab writers] write from a cerebral place, and I am also guilty of that. They write intellectually, as opposed to viscerally and emotionally. But when you write characters that are from your real life, I think the authenticity and truth always comes through. Tapping into that, and also learning to discover it with nuance and grace, is key. In general, the inhabitants of the Arab world, especially in Saudi Arabia, do not like to air their dirty laundry, unlike Westerners / Europeans and their [TV] Industries.
Aside from MEMI projects, are there any recent or upcoming Arabic TV shows that you are particularly passionate about, that you think bode well? good for arabic tv in the future?
There are a lot of things that are planned that are still being kept under wraps and look promising. There is no shortage of good stories. The Arabs have this tradition of oral history and they are great storytellers. And I think every company has its own narrative that’s intrinsic to its people. But it’s about facing ourselves. And some societies are just better by being more advanced, transparent and vulnerable. I think Arabs generally tend to be more poetic; you can also use the word romantic. The language is flowery but sometimes the meaning is more subtextual. It’s between the lines and kind of sticks out everyone’s heads. There are ways to fix this that will come to us once we practice and learn.
What are the other obstacles that have held back Arab television?
One is the fact that our main season for television is the Ramadan season, where shows are almost by default 30 episodes per season. But I think as things become more decentralized, we’ll see a shift in that dynamic. I also think the idea of writing [a show] because a star is a bit dated as opposed to just writing something genuine. There are many examples of films from Egypt that are critically acclaimed on the festival circuit because they have fascinating characters. But then sometimes [Arab] the spectators will see something and say, “This does not represent us! I know this is certainly the case in Saudi Arabia. It is therefore a question of finding this delicate balance. It is a tightrope walker which essentially consists in telling an authentic and real story, without compromise and without embedding. But also it does not offend people. People who, again, are usually not ready to face each other.
Sources 2/ https://variety.com/2021/tv/news/hisham-fageeh-1235126231/ The mention sources can contact us to remove/changing this article |
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