Tulin Ozen and Cem Yilmaz: For long hours, on a table, drinking tea...
We are at the hall of Cem Yilmaz’s home which hosts the works of artists in years. This is the reflection of inner world of this comedy master and the place where he serves tea and feels relax. Remunerating her work, Tulin Ozen asked our questions to Cem Yilmaz and we all enjoyed a lot during this interview. Also, this is the place where this dual deeply chat wandering off interview format in front of our curiosity. We chat on the topics system, prejudices restricting freedom, desires and victories, dreams, cinema and passion of stage, difficulties of existing in this sector, excitement of new film, ideas, comments and memories with a cup of warm tea, for hours… and all the other sincere topics that we couldn’t write here.
ON MEETING and STAGE
Tulin Ozen: So, are you gonna tell?
Cem Yılmaz: Well, of course why not? I saw Tulin rolling rope on a slope for the first time. Then, in a film she was taking a snake out of her mouth. These are all the things that I saw.
T. O. : You didn’t watch any other things except for these! Anyway...
C. Y. : No, not because of that; I have watched everything else, but it is very enjoying your not watching anything about me.
T. O. : In fact I have watched many things, but… But, I haven’t watched Yahsi Bati and AROG. I really do not know anything about Cem. I remember having a very horrible interview with you.
C. Y. : Why do you think so? I think it was very coldblooded interview. By the way, I had also watched one of your play in the theatre; I tried to accompany with you at the end of it but...
T. O. : I had already left. I can never remember the face that I see on the way out, at backstage, outside, the things I saw on TV. I mean when at the backstage, I do not recognize that person. Now, I know you, that’s OK but no chance for the ones with you.
C. Y. : Since my childhood, I had been into the courage of the ones on stage. I always love theatre, but I had a little jealous inside of me for it. Do you know what I watched for the first time? In 1979, my dad took me to Devekusu Cabaret in Siraselviler, Taksim. It was a typical cabaret order. It was not like a theatre, with tables alcohol on it…
T. O. : What was the play?
C. Y. : Insanligin Luzumu Yok (No Need for Humanity). I never forget because we went there with my dad and I was at the age of six. I do not know why he took me there because it was a night show. I had never seen my dad bursting into laughing that much. Metin Akpinar was talking about animals, and the show most probably written by Kandemir Konduk. Man, I didn’t learn the name of the theatre “Insanligin Luzumu Yok” later. At my child age, I understand the meaning of this name. There were a minimal dark blue décor and minimal costumes on that night. Having a dark blue overallsesque on, Metin Akpinar imitated a monkey and people laugh a lot and cracking jokes. I can’t tell how much I liked! I looked at my dad and he was crying for laughing. At that exact moment, I started to think how strange laughing is. I never forget.
I started being jealous of the ones making people laugh at that exact moment. When I was away from a laughing crowd, I used to think and say “Bub, I am here! What are they laughing at?”
T. O. : Even your father bursted into laughing, it must have affected you to see that a child at the age of six seeing his father laughing his head off.
C. Y. : I was very jealous because he was overwhelmed. On that moment, I started to be jealous of comedians. I started being jealous of the ones making people laugh at that exact moment. When I was away from a laughing crowd, I used to think and say “Bub, I am here! What are they laughing at?”. Frankly speaking, I had never intended to be on stage. Once upon a time my friends attempted to do a role playing in English at high school. I do not exactly remember what it is about, but I joined them. I was thinking that 14-year is very late for this kind of activity. Having seen the theatre at the age of six, I watched many child plays and films. However, I never thought of being on stage. I became one of their member out of thin air. After a while my teacher asked me to leave the set and said “Dear Cem, this is not according to you, leave.” I had made everybody laugh a lot.
T. O. : But the same thing was said while you were working with Mazhar Alanson, right?
C. Y. : Yes! Yoga. Dynamic meditation. It was the time when we went to Osho’s Ashram. But so how could you go there without believing it even just a smidgen? Really we do not believe in. We do not have the purity of a tourist, none. In 1998, I was 25 and Mazhar is 48 and writing acting workshop there. I never miss, look, “acting workshop”! We both went of course. There are people from all around the world. Trainer explains something in the workshop. How happy are the people, God! Now, you are a couple, you two are a couple he says. Or let’s say; one of you are behind a screen and says “Think that you’ll get out of there and one of your beloved one gets off the train.”. These kind of simple improvisations. We laugh at all these scenarios. The trainer took us and said “You’re making this group laugh a lot.” Mazhar answered “This guy is a comedian.” Then the woman said things like ok, but do not bring your job into this group, please. I was sent one more time away again after the theatre at high school. Later on, I admired one of the guy, one of my friend’s brother going to conservatory, living in our neighbourhood. But I never thought of preparing for the school or going on stage.
T. O. : But Can has?
C. Y. : My brother? Yes. It was a hidden interest. Not a kind that is exhibited in the family. It was something he kept away from us. At adulthood stage, he went to Mujdat Gezen’s eliminations, which I do not even know. Before this, there is something more dramatical. When I was a child, I was recording my voice and we had a recorder because I was into electronical things. I mean since I was three years old, I have been telling stories, singing songs like a parrot and interested in this job. Let’s say I listened the song “One night I may come suddenly…” and I sang, which were all recorded. I had a recording with this name. At the age of 12, I found this cassette and turned the B side of it and listened and got shocked: My brother sang the same songs, too!
T. O. : You kidding!
C. Y. : Saying so made it kind of horror film. Well, how comes we do not know the B side of this cassette? How we didn’t listen to it? Where were we while it was being recorded?
“I am not a serious guy, frankly, a little bit buffoon. I used to take even a small line too seriously. I mean only toy I had was that; to draw, draw something.”
T. O. : These are all really loneliness of childhood.
C. Y. : May be. Of course my brother was a very serious guy. I am not a serious guy, frankly, a little bit buffoon. I used to take even a small line too seriously. I mean only toy I had was that; to draw, draw something
ON DESIRES and VICTORIES
T. O. : But you weren’t really into organ, right?
C. Y. : No, I gave it up really quickly.
T. O. : I thought that you’re really interested in it?
C. Y. : I was, but just a dream; that’s all. I would have a home in which there were a lot of pianos like Jean Michel Jarre, I would order them. Even, I made my mum to knit a jumper piano keys on it.
T. O. : Really?
C. Y. : Sure, I told my mum so. Knit it in this way, there will be black and white piano keys like this. My mum said “Son, piano keys? Why?” , “Please mum, I want so, please!” I told the keys and their position and how they should be “Two black ones and three white, okay mum? Please!” When I was a child, I had a jumper piano keys on it and Fazil Say went on this way and we are here now. I mean, if I had concentrated a lot more, it may have been different, it is still valid for now. I am always late for being interested something for a long time.
T. O. : You can learn something faster than others and get better in this. However, I am not sure it is something good or bad.
C. Y. : Not good because you’re going to mandoline course and when you try the song and play Samanyolu (Milkway) by yourself, you lose your all passion. Then you say “Dad, I want to try darabbuka!”. Now everybody can understand this, darabbuka workshops etc. But in 1978, when you say “I want to play darabbuka” they answered me “How comes? Are you gonna play it in the soccer matches?” Alas, my dad got one from somewhere and gave it to me. Where will I play it, really? One more thing, why do you shift to darabbuka from mandoline? Then something happened: there was a sixteen-year-old guy living in our neighbourhood. One day I heard this guy playing a double organ under the shop of his dad, somewhere like a basement having windows. I am talking about the years 1977 or 1978. Guy is playing the organ and we are all watching him. Then I said “Oh God! Why the heck is this organ in our neighbourhood? Wow, there are things like this!”
T. O. : When I was at primary school, Canan’s family bought a piano for her… In her birthday party, suddenly was carried the piano. Most probably, I felt in the same way and said “wow!”. I have just remembered this.
C. Y. : Now, when I think, I do not really understand what gives me pleasure; his playing or the existence of such instrument. I guess about being instrument fetish because when I went home I drew it on a piece of plywood with chalk and played so. When my dad saw me, he must have felt bad and immediately bought me a toy piano for me.
“For instance that feeling is in Hokkabaz, desire and victory… Desire is something different but to be successful is something else. The matter of transitioning of desire into victory was always somewhere in my mind. I thought that not having enough talent, it may not be a desire for you. But it is something wrong!”
T. O. : He must have been worried, of course…
C. Y. : There are many to be afraid of. For instance that feeling is in Hokkabaz, desire and victory… Desire is something different but being successful is something else. The matter of transitioning of desire into victory was always somewhere in my mind. I thought that not having enough talent, it may not be a desire for you. But it is something wrong!
T. O. : But why? I think you have problems on concentrating?
C. Y. : But isn’t it too late?
T. O. : No, you can still overcome it, but I do not ensure that you’ll be in Berklee.
C. Y. : This is exactly about being popular. I mean, extraordinary. Namely, a man started playing the piano at the age of 42, now a famous reinterpreter of Mozart.” Now, this popularity isn’t something like an ordinary pianist type. You see?
T. O. : We are not thinking in the same way in this point. You’re thinking of being the number one apparently. I do not agree with you. When you start playing it at your thirty, at the age of fifty, you can say I have been playing the piano for twenty years, which means a lot.
C. Y. : No, being the number one doesn’t matter. There should be no other option than being magnificient. Is there any?
T. O. : For me, yes.
C. Y. : No, is there anything like I am playing little.
T. O. : For me, yes I said.
C. Y. : I do not agree.
ON BEING COMEDIAN and VIRTUOSO
T. O. : I guess there is a popular legend of you about music.
C. Y. : What is it?
T. O. : It is said that you have a good ear.
C. Y. : Ah, it is about a specific topic; for example about production of technological music.
T. O. : Yes, I know that you know it as well as a musician to make him say “Okay, we all know that you know how to play!”.
C. Y. : In fact what triggers me is that gorgeous musicians spent a lot of time for their instruments and this negativity affected me when I see that these people cannot compose an original one. “Oh god, how comes?” I said so many times.
T. O. : Isn’t it your playing Samanyolu by yourself?
C. Y. : No, no it is something meaningful, it is like the result of your training. The other is something weird. Not being able to play an original one matters to me. This made me a little bit skeptical for something. You think like “Really, how comes, if I were the master of piano, I would play something very original”. It is weird.
“In addition to all these things, I may say that my being on stage made me blossom.“
T. O. : Mine is generally the opposite of it. While meeting a musical instrument, I get away from it because I see that they do not have any room in this world.
C. Y. : I will not say something really deep, but organ player Giorgio Moroder of Daft Punk has a song telling his life story. It is about how he found irregular disco rhytm and made it popular. I mean there is nothing about the music, it is all about something general. He wrote it as he feels and this sound is in our ears and we’re listening to it. When not touching this, it is safe the thing called potentially genius. In addition to all these things, I may say that my being on stage made me blossom.
T. O. : Blossom?
C. Y. : Yes, flowers, sincerely. Remember the matter from desire to victory, e.g. the most distinctive one is the same in the caricature.
“I got on the stage and were a successful one, too. How can I base the things I said? I experienced under that title, I tried to do what is necessary for that job and to do everything almost perfect. Should we talk about a virtuosite, I lived a real one inside of me.“
T. O. : Isn’t your first stage when they forced you a little? They said “Come and tell the stories here, too.”It isn’t the same when you draw piano on a piece of plywood.
C. Y. : No, it is the story of describing the moment when I get on the stage. But, maintaining taking stage is all about desire. For example; although my this desire looks like others, this time it is in fact, on sustaining and reaching a conclusion. I got on the stage and were a successful one, too. How can I base the things I said? I experienced under that title, I tried to do what is necessary for that job and to do everything almost perfect. Should we talk about a virtuosite, I lived a real one inside of me, which is in fact the only one that I am successful at among all these. Should I not get on the stage tomorrow or be funny, I’ll think I completed that job in a successful way. But of course I’ll keep. There is a man in Vegas making offensive comedy. I wish I could remember his name.
T. O. : Yes, you mentioned.
C. Y. : What was this guy’s name? Find it later, I’ll remember. He’s at his 90s. May be 93, still alive and most probably in 2009 he was on stage.
T. O. : Are we talking about a handsome man?
C. Y. : Nope, a plump and rounded head one. Yes! Don Rickles, very active since 60s, is at the age of 95, but I am sure that he is doing this job better than he was at his fifties. When on stage, it is more meaningful and funnier his saying “What the hell are you saying?”. There is one more comedian. George Carlin carried this title until he is very old, but his tv projects are failed and films are horrible. Carlin is a very strong character but everything on TV of him is stereotype. He took roles in some films but totally failed, which is very weird. However, he is the master of stage. Being the same as Carlin, Richard Pryor is also very successful on stage, but an ordinary comedian. To me, he lost his charm and it is as if he is doing this job for only money. Other than that it is probably so because he is addicted to drugs and therefore the money goes fast.
T. O. : Well, it is necessary to refrain from things like that…
C. Y. : Yes, this is public service announcement. (laughing)
T. O. : Well, I am curious about the thing of you…
C. Y. : Is it what will happen to me?
T. O. : I mean you are not the same guy as you were in the past. What is it?
C. Y. : Well, it is better in some ways, worse in other ways…
T. O. : What is it, then? Do you say Wow, I used to be very energetic? Or How unconcerned I was? Are you more concerned?
C. Y. : Well, yes it is all about courage. It is very specific. Being on the stage is not something only to talk by yourself there. It is something requiring courage in your heart. I remember the funniest question ever: “How can you memorise all the words?” I may ask this question to you, actors and actresses in the world and I never take offence. It is like asking somebody’s favourite music. How can you memorize all the words is something technical. But, before all of these I have a main question for me; it is courage. Very courageous job.
T. O. : Did you use to feel more courageous?
C. Y. : Of course! You are 21 years old. It isn’t as easy when you consider the average of the spectators. In this job, it is more important to make sth feel, not what you feel. Comfort is important.
“For instance; people criticize by saying “They laugh at you whatever you say!”. We should ask why they are laughing. Of course when there is nothing shared and you say “Do you remember?” nobody laughes. But now, I can make people laugh by only saying “Do you remember?”.”
T. O. : Well, does it change in time?
C. Y. : Depends on the comfort, of course. For instance; people criticize by saying “They laugh at you whatever you say!”. We should ask why they are laughing. Of course when there is nothing shared and you say “Do you remember?” nobody laughes. But now, I can make people laugh by only saying “Do you remember?”.
T. O. : We were about to laugh…
C. Y. : It is really ordinary, but it is important how you live this comfort. For example; when you were young they say “Look at the guy! How comfortable he is!” There you do not make extra effort to be relax there. Along with your career, you improved yourself in that you feel comfortable when you do not feel so. May be the difference is here. Frankly speaking I do not think that comfort is increasing. The number of your experience is increasing, but comfort is always in the same danger. That is, there is a success system which is based on the spectators’ satisfaction. Therefore you are the only one who can forget the night before. “Alright, take it easy, what may happen if one night is not so good.”, but on that day in these two hours you were not successful, you cannot omit it. But I am very lucky that I observed many more failures in the stories of comedians that I read about. I mean there are some extreme guys. For example; Robin Williams’s career or Eddie Murphy’s. In these ones, there is a success story, high tempo and speed. There are many going along with comfort in their careers. They are different, but most of the comedians that are touring, visiting other places have bad experiences such as not being able to make people laugh, trying but failing stories. I do not have that much.
“This is true you cannot amuse everybody. You shouldn’t base your success here, I think it is tricky. You cannot make everybody laugh.”
T. O. : Is there any that you couldn’t sell? Or something that you couldn’t make the humour work?
C. Y. : Of course there is. I have my excuse for this: This is true you cannot amuse everybody. You shouldn’t base your success here, I think it is tricky. You cannot make everybody laugh.
T. O. : But you can tell everybody something.
C. Y. : I see, but you cannot make all of them laugh a hundred per cent because sometimes comedians are not able to choose the correct audience. Most of the unsuccessfull stories in stand up world is in fact generally about the one coming to night club, sipping his alcohol and getting on the stage because the stories told are better when it goes to the narrator. When the story touches that guy, the man has already built a perception of self, which generally starts the adventure. But the failure is possible even the arrow shows you. Without having a response, this time you should call yourself and may say; “Leave it, really do not force, they do not understand you.”. But this may happen once, or ten minutes, five seconds, but you cannot say it during all your career life. I mean, you are to change the formula.
T. O. : Is there any way to show it? Or is it something intuitive?
C. Y. : Of course intuitive. It has such a explanation such as talking in the same language. We cannot claim that the group speaking Turkish can understand Turkish. There is another language in this case. Creating another language, you can check their ties with the language or more literally, sharper distinction; let’s say there are some technical words in the story that you’re narrating. Let’s say something about volleyball, most of the time in American films, a baseball player’s life is mentioned in these sentences: :Come on Larry, you are at fifth wing. You do not know the rules, what happened or why they were so panic or why Larry was crying there…, see? If the man doesn’t know the rules, teach the rules or build the system in which he can understand it. It is up to somewhere when you say they do not understand. Then, when you use all your weapons and communication channels, this time trusting your calibration and say “It is not you, it is me.”
ON SOCIAL MEDIA and POLITICAL COMEDY
T. O. : Being furious and saying fascist things, a comedian, for example, is making jokes about fascism. Is this something special for his living in America or is it only the way it works? In this country, is it OK?
C. Y. : As for me, this may be done. I mean there is a huge difference between a joke made about a negro in 1959 and the one in 2015. The conscientious comedian would not touch on the negativity as much as we do today in that it was still a bleeding wound at those times. But now, this two side can touch each- other. Look at the example of Chris Rock; it was said not to say “nigga” or “negro”, just to say “Afro-American”. As a negro, Chris said “Come and make up your mind and choose what to say”. It is just the same as the case the releasing of Black Sea Region jokes is easier than Southeast Region jokes on the market. The jokes starting with “A guy from Urfa”, “A man leaving Hakkari” aren’t still being transformed into Laz jokes being told on stage. This is very strange. The fact that this humour is not very popular does not necessarily indicate that it exists. It is all about the audience and the narrator. I mean “Is it really necessary to create something to be laughed?”
T. O. : But on the other hand, it is necessary.
C. Y. : Exactly, but it is the thing to be treated.
T. O. : I mean its not being talked is also something political. It may be something used to retard the solution.
C. Y. : It keeps it alive.
Laughing is a bit luxurious, like cream. I mean it is a commodity, something can be sold. The less the difference between laughing among you and commodity laughing is, the more humanitarian it will be. Let’s say comics are the dynamos of street. This dynamo is the place of humour not pastourised or sterilized and the closest to real life.
T. O. : Why won’t we talk? Why won’t we laugh? Is everything very funny? Yes, they’re.
C. Y. : It is about being fresh and new. Laughing is a bit luxurious, like cream. I mean it is a commodity, something can be sold. The less the difference between laughing among you and commodity laughing is, the more humanitarian it will be. Let’s say comics are the dynamos of street. This dynamo is the place of humour not pastourised or sterilized and the closest to real life.
T. O. : I didn’t say it spesifically for political joke, I said it in a general frame.
C. Y. : All same. Packing is not about a trick speacial for easy-consuming. It is about packing and taming. When packed, it is understood in a different way in its recipient’s hands.
Some time we were saying how horrible professional comedy was. You think a lot on the things you’ll do on the stage. You say “What happens if I say this first?”, “Or this one after this sentence?” What I say is to say whatever you want. Find a way to say it, and simply say.
T. O. : Isn’t social media like this?
C. Y. : Social media is something like this. You know the saying; “Social media is just a means for me, not any of my aims.” This means is meaningful when used at the right time. They praise something a lot and make it higher than a humanbeing. For example, it is sometimes more important to say your opinion than kindness. Based on not being understood, it is the place where communication is only one way. “I didn’t get your point.” “I said it.” “I shouted.” Well, what is the result? Only I think in our country people believe that they can save the whole universe. No, you can change it according to your cultural background. Why not if you can say something catchy? It is OK to write “Put some water in front of your door.”. Second one is “You mother*cker if you do not do…” Gosh, should we only love the animals? Let’s love you, too. Strange things, strange emotions.
T. O. : Mostly you are the one creating his own area, getting out of this type of things.
C. Y. : On the other day, while travelling, one passenger asked my opinion on the topic written on my newspaper. There are many things to be the topic of a funny story, but he is asking to answer it promptly. Immediately!
T. O. : Yes, I saw it. It is boring but as an individual you have your own area to escape. There is a very special area that you created for your own freedom in your idea.
C. Y. : I got your point, but I do not feel guilty for this. People do not think in their all conscience this: “Should they attribute this to me, do I have a power which I am not aware of? I think so, why shouldn’t I? Some people think that I am wearing tights by hiding. “I am a superhero.” People think so. Why do they think so, it is something different. I mean you desire to be thought in the same way by everybody, which is most probably the best. He thinks in the same way, the best for you, too. This is the common path that we all feel guilty: “Why aren’t we better?” (laughing)
But I am trying to say this in a kind way, with a joke. Some prefers to say harshly. I am saying something in a funny and intellectual way, but I have never experienced somebody doing so. S/he doesn’t regard the film you made as a film. Okay, but say it in the way I say. Apparently, you are not equal. Will it make me feel good?
T. O. : Yes, but you didn’t give up your self-confidence in return for this, which is something good.
C. Y. : But your technique is perfect, you do not feel that your it is right. You can do as much as you can. I am always thinking of what else I can do. Always on my mind, but I have no answer for this. In our country, it is really the same to mention about nothing as to say something about agenda. I mean there is no… to say something on the agenda.
T. O. : Hope?
C. Y. : No, nothing good.
T. O. : No, I don’t mean that we will always speak bad. Really, there is nothing giving hope or something productive.
C. Y. : Yes, everything is not that bad but I really do not understand…. I mean what is the point of talking about the agenda from a narrow aspect? Let’s say this is on the agenda: “Why do our schools have enough art studies?” Then, the answer comes from that narrow aspect “Why? Because we do not want?!” Then you crush! But we can handle this question in this angle: “Were more art studies in the school, would a few more students play mandoline…” If you make your joke using this sentence rather than the former and talk about it constantly, it is better. Or when we speak harshly on our desires or life style, its anwer is ready; “There is not enough art school or foundation, do not hate balley that much!” When you say this, the answers are ready, which doesn’t have an ending.
People looking down on everything are at such a fault; for some reason, for fifty years they are looking down on a kind of lifestyle or the pleasure of life. Now we should find another language. Frankly since my childhood, I haven’t been a fan of a specific lifestyle. Democratic in mind, fond of freedom, everybody wants somewhere like this. But a moment comes and it is not enough just to say “Something should be done.” I find useful the moments you get stuck. There is a song called “We should do something.”, but our song shouldn’t be “We should do something.” A thing to be done should be done for being an example hoping to change something. I think knowledge is precious when shared. You should make use of the book that I am reading while we are chatting, which is the only way its being valuable. Or your experience on stage should be useful for mine. How can it be possible? I’ll go to the beginning; it will be possible when we increase the communication by using the language effectively. It will be possible when understood and telling it to the others, if not, it is very difficult.
T. O. : You mean it isn’t when you dictate?
C. Y. : Without making concessions, yes. To change the language doesn’t necessarily mean capitulating.
T. O. : I think it is something related to not capitulating.
C. Y. : So, the reason why they find an attitude less political is about the level of rigidness. They think it should be said harshly. They may be right, I am not sure. Conscientiously, they may be right.
T. O. : But as you said, it doesn’t work when it is uttered with the words such as “agenda”. “To be political” is the sentence that I do not want to agree with. It is nonsense.
C. Y. : To be apolitical is such a word that you are supposed to leave everybody behind you, which is something like being accused of your being apolitical. Your politicized type doesn’t have a meaning for me, in fact. I do not intend to create mass culture or fan groups. I am just amusing people, but if you are producing politicized ideas for the society, in this case you should be more popular than me. Then, do it dude! Not me, you should have seven million fans in your social media account. We are at the same side of life, but we do not get on well with each other in a free, liveable life. But nobody takes on the failure. In case you have noticed, when you take the all stars out, the rest is failure of human.
T. O. : Hey you, having 7 million fans, find something immediately for this problem. Ban all of them, right now!
H. D. : People are lazy, sorry for interruption.
C. Y. : Yes, we are all lazy.
T. O. : You are said to wear long johns, that is why you are supposed to solve this problem.
C. Y. : A superhero without long johns? No! Our source is to love humanbeing, hope, give hope and being happy when you’re in the crowd but not leaving your kind side. I mean there is no such a word “deceiving” for me. Our life consists of doubts about our preferences. That much honest. I do not know whether it is right or wrong. In the other world, there are some promises for you while you are that much honest. Good things, prizes, things like nuts… Well, nice! As in the imperialistic system, many things are promised. Wow, well-known campaign. There is nothing for our side. (laughing)
T. O. : Right, there isn’t. But good things are in our world.
C. Y. : Yes, but they’re all burden.
T. O. : I acted in a film called “Burden”, we can also talk about it! (laughing)
ON “VERY SOON”
T. O. : Were you sorry for taking out the funniest parts of the film?
C. Y. : But I didn’t take these parts? They asked the same question last year in a chat and I answered in a cool way; I think this way, it is funny. Why shouldn’t it be? In my context, yes it is. But you know better how a film cannot be funny.
T. O. : Yes, thanks. And how it will be boring or so on…
C. Y. : (laughing) no, not boring of course. I do not have this feeling. There are many other things giving pleasure to the people. The film is better than I can imagine. We all did act well. I think it is very realistic when watched.
T. O. : I think you created a beautiful world backing your troubles. Everybody in this world has a trace in it. I think cinema is all about creating world.
C. Y. : I mean it may have got some technical problems. At the background, because of the effort for writing a neat scenario, when you say the sentences like “Is this character functional or this one isn’t?, you may think as “When this happens, does it affect the film a lot?” But I do not think that these characters in the film aren’t there just for necessity. Who these characters are also affects this. These in the text but not in front of the camera, not that much useless when acted appear for this reason. I am very glad, it was a great experience for me. We brought the curtains down until the time we make a better film, left our set, took all decors out. This is my opinion. And I’ll remember this film with respect and will watch it after years. It happens the same with the others.
T. O. : But it was your first experience as a director.
C. Y. : I am a very bad director, of course…
T. O. : You were sprinting to the finish.
C. Y. : (laughing) to the finish?
T. O. : Well, yes it was one of the best to see him. Really sprinting to the finish, you have its language. It is valid for every director. I will be waiting for the next film with zest.
C. Y. : I take for on the director interfering at least. I experienced it. It is no use of interrupting a lot, it is as if talking for nothing in that atmosphere. These weren’t minimal in our area, but I guess these all should be minimal in good works. I mean I lost my passion for trying new things in the set, which is not that much right I think.
T. O. : There are some directors working so.
C. Y. : There are also some films, some of which are very successful. But I think we should be into those tiny nuance. My other opinion is to write better, which is more important. Because in the cinema sector, I am not hopeful for photos, I care character written well. In fact we were very crowded in the set as for an author like me, not having enough experience.
T. O. : We were really crowded and all your characters have nuance. Not sure for showing all these, though.
C. Y. : I think we did. Not so crowded as Fellini but, there was a reputable crowd there. We should consider the writing part. Similarly, before the set you should spend enough good time with the actors. In this atmosphere, there may be something catch-as-catch-can. The set is not suitable for this. In the sets done with huge amounts of money in this freshness, there should be some bright inventions, that’s all. To demolish and restore is very horrifying as in the example of Blue is the warmest color. Abdellatif Kechiche let the girls away and talk… We know the fact that when I say “Okay, it is totally up to you” doesn’t necessarily mean that it is totally up to you. Or else what is the point of letting free serving a purpose?
T. O. : It is not possible because it is the one worked very hard on. Most probably we are watching a marvelous fiction among them.
C. Y. : You are right. It is as if we are only watching only the refined part of three month old work.
T. O. : Most probably, he is drawing that border so carefully that, there he lives it and very into that. Drawn carefully, actressness feels comfortable as it is. I mean I may go to right or left. There is no problem such as “One moment, there is nothing like this in the scenario, you changed it” because you have already marked the frame of it.
C. Y. : Something about knowing the performers; e.g.: in this film we hadn’t done that much sophisticated and intense pre-study, but if you’re in the role of Arzu, you have a husband and a child at the age of eight or nine.
T. O. : Yes. If you manage to understand the burden of woman, why she is sad, how it is important as an actor…
C. Y. : I remember our talking with you and you said “Do not start the play with this angry face, it is useless. Try to show your affection little by little.”. It is very important in fact. So, a tiny change in your attitude happens. Just think, it feels as if the nuance of “You’re not being the actor that I want…” when he is in silence in the set and not speaking, it is like this. Sometimes, it is not necessary for the people, but we showed it, though.
T. O. : Yes, but if we do not show it… We are already in need of this, so I am in this film.
C. Y. : Bravo! I am looking for it. After a few scenes in the film Her sey Cok Guzel Olacak (Everything will be Perfect) with Mazhar Alanson, we chatted on the roles of the film. Actually, I contributed to its writing part, too, but he said “Are we making a document, what are those characters?” because of the catchwords. You are only free with the style how you pronounce the words, we really hadn’t improvised before. We said the words how it came. For example; Mazhar has a saying in the film. I say him “Wow, Nuri we couldn’t do without each other; we were kicked and left each other, kicked and made up later.”, and he says “Okay Altan, you are going.” trying to send me off. I say “Where am I going?”, he replies “to where you came from where.” I mean he is to send me off with this sentence “to where you came from.”, which is the written on the scenerio. “to where you came from, where?” he said and it wasn’t changed and in fact no need to change it because it is something colloquial language. “to where you came from, where?” It is great! It doesn’t worth changing.
T. O. : These are the things that we couldn’t do in “Pek Yakinda”.
C. Y. : Why?
T. O. : You didn’t made them change? (laughing) By the way, it is also a pleasure for the actor.
C. Y. : Obviously, you haven’t worked with Yavuz. Yavuz makes you change even your breathing, for example; do not breathe right now at this very moment, okay do it now.
T. O. : Of course, even a tiny move of your eyebrows… Everything, but it is still enjoyable to act in the sets. In my first acting experience, I was all directed. After years I realized my acting well under those circumstances. I lived with the thought of ruining a man’s film. I thought that they gave me a chance for this film, but I screwed the film up. Two years ago, I thought as “No, in fact, overtly, I acted there.” Because under those conditions, it may be very difficult to go on, but unfortunately, this is the best part of it.
C. Y. : Some film types, restrictions or opportunities of some films, silence, listening or let’s say to look out of the window dolefully… I mean, there are other subsidiary factors such as the emotions arousing while you’re listening to music or the opportunities of the cinema, the contributions of light and ambience. It is asked to Humphrey Bogart “In Casablanca, with cigar in your mouth you say …” he answers “I didn’t do anything, they asked me to do so.”. This man said this sarcastically. It is the same here, there are some subsidiary elements, too. Do you know what really affects me? The most distinctive thing in bad- acting is to reveal that you are being recorded. That bad thing, as if pointing the camera and saying “What are you saying?”. Unfortunately, there are some types like these, which is the thing to quit quickly in this sector. I have a distinct fault in my life. I cannot forget it for all my life; Mazhar says something in the set of Her sey Guzel Olacak and I say “What is the point?” instead of acting;- I mean not directly looking at the camera but… It is very obvious the dilemma that whether I could do or not. Horrible! After that, I think that I started to act more natural. One of the most difficult scenes is that I was shot in the film “Av Mevsimi”. You know the feeling of being shot only in your dream. In that scene, I do not know what happened, but did how I feel and somebody said “What kind of acting is it?” Where were you killed before? How do you know it? This is my type of dying. One shot at his chest, how can somebody understand it is bad acting? Interesting. It means it is my bad, I will not die again!
T. O. : They do not love your kissing scenes, too.
C. Y. : (laughing) thanks Tulin. But it was a little smooch. It should be that much difficult. The thing getting the problem away is to think that the camera is not there, it is the golden rule. Do not think about it. It is very difficult, all of it is very hard.