Tulin Ozen: "Theatre and Cinema are Everlasting and Precious"

"I worked with Cem Yilmaz lately and it was probably the biggest crew in Turkey. Nobody was snobbish and egoist there and the people in the film set was free from prejudice."

Lastly, we talked to Tulin Ozen, taking role in Pek Yakinda – the last movie of Cem Yilmaz-, winning Golden Orange with Melegin Dususu (2005) as the best actress, known from her acting in some films, about the mother of Yusuf, Zehra and Cumali’s beloved woman, Zeynep, the moments lingering, friendships in the film set, the contributions of her job, a little bit theatre and the opportunities of being “the other” actress.

Let’s start with Melegin Dususu, your first experience. What forced you?

To get used to being in front of the camera was very different all by itself. I studied theatre. Mr. Semih is very hard if you are beginner. I cannot distinguish the most difficult one between these two: because of being in front of camera or Semih’s being perfectionalist, not sure which one is the reason. You are acting without knowing what your movements will mean later on motion picture screen. You can feel it while acting in the theatre because you are being trained how you can affect the spectator. When it comes to the camera, it is not as you think. Your being screened, the approach of the camera and its scale factor… They all have different meaning; from head to toe. There is light and you should stay in that circle. There is a big difference between Semih Kaplanoglu’s light and the other directors’. There are tiny settings, it is hard to play in it. When it is cinema film, you should act hiding it. The things that are meaningful for the theatre becomes meaningful when hidden in the cinema, which also depends on the film. It is not a rule you should act hiding in the cinema or showing in the theatre. It is the same in both, but you have difficulties in distinguishing them in the beginning.

There is a snake scene in the film Sut. Top all, it is not a fake one, it is totally real! Mr. Semih says that scene was full of adventure

We tried to make a fake one, but we didn’t like and it wasn’t realistic. The snake should move and the fake one was moving so mechanically. First an actor would do, then the scenario was changed. When it changed into woman again, he asked me whether I could or not and I accepted. When the film set started, it was obvious that the snake should be real. Would you mind if it is a snake? If you believe so, I also trust you. I trust because they care you and they will not harm you.

Then, your role was as Yusuf’s mother in the film “Bal”. How was Zehra as a mother? What does she represent in the film?

A mother figure in our lands, Zehra cannot be described in terms of her personality; I think she is not a character to be talked about her personality. She is an usual mother when we have a look at her ownage of her children & husband. Looked with regards to her own posture, she has a strong personality. She is very strong and for me she is a big figure.