A Long Cold Winter - A Documentary about filming Winter Sleep (Full length)

A Long Cold Winter Winter Sleep "Making-of" documentary On the other hand this new situation is embarrassing for you. You don't remember the letter so well. As you read it you'll see how it clashs with Nihal. There has to be a kind of restless tension with you. -Alright. -Kind of difficulty to start reading. This was too quick and haste. Is this haste at the start or during the whole of the letter? -The letter... -As I start the letter. -No, before that. -Ah, before. When I say "let me summarize

to Nihal." After she says "What kind of a help is she asking for?" There has to be a distress there while moving on to the reading letter. You started reading too quickly. -"Alright, I'll read." Just like the way as he said "Shall I call her." -Something like that I don't know. -Alright. You'll say "Alright, let me read it then." Then you'll feel you need some approval saying "Shall I read it?" -There should be a clumsiness there. -Some incertitude. I'll be clumsy there. Alright. When they say

"OK. Read." Open the mail and... Start with a kind of hesitation. -Yes, it needs some hesitation. "Yes?" "Now, that"... Say it simpler, more artless. I got it. Alright. Let me summarize to Nihal then. I was saying to Suavi. I got a letter the other day. A young girl who teaches needlecraft in a local village. -Etienne! Why there is no second mic? -I'm getting it. What kind of help does she want? The letter is here. Shall I read it? Well, let me see... We would like to thank you, however you resp

ond. Yours sincerely. So, well... That's it. Now the dolly. Bravo. You managed to do it even slower than I wanted. But make it two times faster. You have to come till here at the end of the letter. I stopped when the letter finish. We watch the dolly in admiration Now, let's be clear about the sequence. I keep forgetting. Let me have a look to remember. "What kind of help does she want?" Alright. When you don't get a response from Nihal, look at Suavi?" Hoping a response from him. -Fine. -It's n

ot good looking at her for long. When she doesn't respond, look at him seeking help. He say, "OK, read" but no response from her. You'll have to hesitate before starting to read. Yes. No response from Nihal. After that... ...yes, you've started reading. The reading part was good. After your hesitant and shy start when we hear complimentary words for yourself, it was so funny. It wasn't that funny when it wasn't told shy. Yes. I heard you chuckling. Yes, after that Nihal so and so... When you're

done reading, look at the screen for a while, as if you've been affected by the letter. -I stay like this? -Yes. For a while. -Don't turn to them immediately. -"Yours sincerely." Then turn to them in a bashful fashion. -Because our guy is not that fool. -Sure. Then turn and "That's it." You're trying to cover up your shyness with words. "That's it, I don't know." "What can we do? I wanted to talk with you if there is anything we can do? "She appears to be a well-intentioned, decent, intelligent

girl. Clearly an idealist, bold and courageous. Seems like she deserves some support. What do you think?" -"What would you think?" -"Huh, Nihal? No. Don't say that. After you say "What do you think?" There should be a moment of silence. -Alright. No response from them. You get a bit resentful because of the silence. Then you say "Huh, Nihal?" You push her a bit. Now at this point your shyness should suddenly be replaced by irritaion. When she says,"Frankly, it didn't really sound proper to me. I

get such mails everyday from all over", Just pause there a while. "What exactly didn't sound proper to you?" There should be there some sort of... -Degraded and resentful? Yes, being resentful. "What exactly didn't sound proper to you?" You had a good accent there. -"What exactly didn't sound proper to you?" Yes, that's it. But forget about being shy anymore. You are annoyed and resentful anymore. I'll get a bit angry now. Then you say, "We'll have a hard time finding common sense in municipal

decisions." That was fine. But after you say that, wait again. You should feel like "Whatever, I should restrain myself." -Then I'll turn to Suavi. -"What do you say, Suavi?" I say that to soften things up. You're trying to gain time as well. Take a script if you like, you keep forgetting. When there is a big gap, you forget. -So take a script. We're not shooting you. He says "Me? Well what can I say?" You and I, and a few other local worthies could get together?" "Can't we handle this?" -Can't

we handle this, don't you think? Now you work on Suavi. You're a bit irritated Nihal. You didn't say this correctly in the last take, but now you did. You mean "local worthies" sentence? -Yes. You said, "If we, the local worthies could get together" It should be, you and I and a few more. "You and I and a few other local worthies..." Yes, "if we come together, can't we handle this?" Like saying "It's not a big deal after all." There you say your lines. Right there you better lough, Melisa. Just

a short one. -But you won't laugh. -Alright. Then just look down somewhere. In resentment. Let there be a moment of silence. Then... ..."I must say you surprised me, Nihal." Without looking at her very much. "I must say you surprised me, Nihal." Well... ...maybe because this hotel has been run like a charity for years." "Because thanks to you..." "Because thanks to you this hotel has been run like a charity for years." "When a chronic philanthropist... ...who has helped every school in the area,

opposes this idea so firmly, I fail to understand." How did you manage this sentence? -I did, I did. -But you've left out one word. -Did I? "Almost". "Who has helped almost every school in the area..." "Almost." "...helped almost every school in the area." -That's some tough sentence. -Yes but a nice line. Leave it like this. I like such lines. As long as you could say it, no problem. I must say you've disappointed me, Nihal. Why? Well. because this hotel has been run "for" a charity hotel... s

orry The thing before that. -Exactly where... -About suffering. -Make it sound slightly more sarcastic. -Alright. I mean... What I'm trying to say is this... ...after you finish your sentence just look down a bit. Resentment should build up there. And start in low pitch. "What exactly didn't sound proper to you?" Make it sound more sarcastic. -Alright. -Are we ready? "What exactly didn't sound proper to you?" It shouldn't be this tough but supple. I should point out that I'm pissed off. It would

be good for me if Nihal would swap two sentences. She could say "I receive such letters every day, it doesn't sound proper to me." She says "I'm always getting such letters" before. Could Nihal swap those two sentences? Would that suit you? Can she say "it doesn't sound proper" at the end. But your mind sticks the first sentence. -Yes, that's right but... -I think swapping is no good. Answering the last line is not a good thing in dialogue. If your mind gets stuck with the earlier line, it's be

tter. OK. When She say "it doesn't sound proper" I turn my looks away from her. I think you shouldn't do that. Instead freeze in thoughts, like you're stuck on something. Alright. Ready. Do we get that part? -Yes. -Dear Melisa, could you give it? -Of course. -Sound. Action. "I get such mails every day from all over." Look down. What exactly didn't sound proper to you? Well... Isn't it a bit of a luxury to build a new place just for this? Cut... Once again. Can you add breath in the middle. What

exactly... Can I try it at the beginning, not later on. I'll try, just listen. I'll do some versions. Suddenly something different may come out from inside. Something evil. As if you're ready for struggle, fight, separation, even divorce. -Yes. Even for a divorce. There is a certain gesture that makes you even risk a divorce easily. -Of course there is. -A gesture or a word. Furthermore, you don't risk divorce, you actually get divorced. Well, I don't know. What do you say, Suavi? Separate the s

econd line. Alright. Shall we check the dolly again? -Alright. -Excuse me, Serkan. Come my brother. However... ...I must say you surprised me, Nihal. Why? Well... ...because thanks to you this hotel has been run like a charity for years. What are you trying to say? Well... When a chronic philanthropist... ...who has helped almost every school in the area... ...opposes this idea so firmly, I fail to understand. What is there to understand? What you say should emerge from your previous line. -Alri

ght. -It doesn't appear that way. When you see he's not satisfied, you put forward something else. Alright. -Where, how? -Near Issiz. He slipped jumping the stream and got wet. I ran after him to see who it was, it was your son. What was he doing there? Trying to understand. Not like as if you're going to beat him. -Curious. -Alright. -Let's take it that way. -Fine. Son, now you are... We have to find something for you. You are too determined to remain silent. Sometimes look as if you're going t

o say something. Then change your mind, etc. When I say "Look" look at his face. When being asked you can even shake your head. The kid may come back soaked wet. Normal. We used to come back covered in mud. But this time the landlord comes right after him. Has it something to do with the kid, is it just a coincidence? Aydin comes here for the first time, right? That's why Ismail should ask more. Like, "Why did you come, what happened?" Yes. What is it? What was your first line? Your kid fell in

the water. We brought him back so he won't get ill. -Where was he? -Near Issiz. He slipped jumping the stream and got wet. What was he doing there? What was he doing? He was hiding. We nearly died out there, because of a shitty little stone. We understand from this dialogue that there's an execution issue between them. There's nothing before pointing to that. It should be clear. Fine. -Cut it out! -Stop showing of, Ismail. Get lost. Go inside bandage your hand. -Nejat, you could... -Push me a li

ttle. Don't back off immediately. Let's see. Shut up, for heaven's sake. -Who are you? -Stop showing off. İsmail! İsmail! Who am I talking to? To that extend, you mean? Extend the beginning. Do you mean the part "What are you talking about?" Like "What did you say?" Be calmer. -Stop showing off. -What? -Ismail, drop it. -Get lost. -Hold on. Come here. -Ismail. -What did you say? -Get lost, for heaven's sake. -Ismail, don't. -What is he talking about? -Don't make it worse, Ismail. -What the fuck

did you say? Ismail, it's alright. Fucking bastard. When you succeed to return Ismail we cut to this angle. It's nothing, Hamdi. We brought the kid back. But it wasn't appreciated. There's no information involved here. He knows nothing yet. You can't just say "We brought the kid back." But I'm telling later on that he got wet. But now the man says "What's going on?" "Your kid fell in the water. We brought him back. But it wasn't appreciated." Should be something like that. You're talking to some

one who knows nothing. Alright, be quiet. Don't make it worse. -What did you say? -Stop showing off. -Who's the show-off? -Get lost. I'll fuck you up. -Stop cursing. -Ismail, don't make it worse. Go home. Mother. OK. I'll push more. Alright, alright, I got it. You remain behind him but the camera should see you. When Hamdi gets in between you can talk more from this side. We don't see you. -This side then. Hamdi should be on that side between you. -Where's that stone? -Over there. They're of no

use. Would you trust these in a real fight? Something like cotton. What's all this, Ismail? What's going on? Hidayet? It's nothing. The kid fell in the water. We brought him back. But I don't get it. No good deed goes unpunished. -Ismail! -Who do you call show-off? You're showing off here, bitch. -Ismail, enough. -I'll fuck you up. -Shut up. -Fuck off! Fuck off! I'll make you pay for this. -Get lost! -It's alright. What are you looking at? -It's alright, Ismail. -Let me go. -Ismail, stop! -What

are you looking at? -Ismail, enough. Fuck off! -Hidayet, leave. -Hamdi, tell them something. Alright, I will. Come on now. Stupid son of a bitch. -What's going on? -I'm really sorry. What sorry, man? What's going on? Are you still talking? Ismail, I'm begging you! Ismail, don't. -Ismail, enough. -Fuck off. -Alright, Ismail. -Fuck off! Ismail, leave it. -I'll fuck you up! -I'll bash your head in. -The fuck you would. -It's alright. Hidayet! -Asshole. -Come on. -Fuck off! Get in. Get in. You shoul

dn't say "Fuck off" at the beginning. You'll say "Get lost." After he attacks you, you can say "Don't get me into trouble." around here. This stone should be for your self defence. Don't act like a fearless hero. Do it like this. You'll say "Fuck off, don't get me into trouble." When he really starts attacking just look for a while. Then you see him coming, get scared and act like this. As long as you stay here the scene is not finished. Alright. You have to run away at some point. Alright. You'

re not a fearless hero. You're a citizen like all of us. When you feel that you've proven your courage to Aydın... Just run. Let's see some fear at you. Alright. We shoot each scene in 8 to 10 different versions. It's not easy for an actor. Although the direction is not your job, the things that the relevant character can do according to the dramaturgy of the script are limited. But he says so different things, like "Let's try this scene this way." You usually never imagine that scene in that as

pect. While you're trying to do that he comes up again with something new. You keep going on like this. I've never worked like this before. I struggled very much on the first day. In spite I was warned about this before. But after the first day everything went smooth. When Hidayet went to right even further I can't fit them both on the frame confortably. Hard to decide which one to follow. We have to adjust something. Do it like this. Look. This part of the fight. Ismail! You drag the struggle o

ver here. Your reactions should have a logic. When he said "Fuck off", there was no reaction. When he says "Fuck off" to you you have to get mad again. He said "Fuck off" from there. I did not know that as well. Be responsive. -Over there? -Be attentive to what he says. He said "Fuck off" when he went up the stairs. -You want me to continue. -You have to, upon hearing him. -You're right, fine. -Watch his reactions. -Keep an eye on him. -Alright. I'm looking for some logic in the aftermath. When

you come back, the fight has to go on. This guy won't go, it would be absurd for him to leave. You curse at him, so he can't just leave. I wouldn't leave. That would make it an infinite fight. Now that Hamdi is holding him... ...if he manages to escape, would he really attack me? Of course he would. This guy has attacked cops who came here for enforcement. Sure he would attack you. Sure, alright. -Sound. -Rolling. -Camera. -Camera roll. Action. What's all this, Ismail? What's happening? Hidayet?

The kid fell in the water. We brought him back. I don't get it. No good deed remains unpunished. Our Ilyas broke their car window. -He broke their window? -Yes. So they're here to make us pay. Did I say that? Didn't I say we brought him home so he wouldn't get sick? Cut it out. You took our fridge and TV for a lousy rent. Isn't that enough? Now you're hassling a kid? -Stop showing off, Ismail. -What did you say? -Don't bullshit me, Ismail. -What bullshit? Ismail, don't piss me off. What the fuc

k? -Whatever. Get lost. -What the fuck did you say? Stop bullshitting. You come and hassle me at home. Who the hell do you think you are? I've no time for all this... -Clear off, Hamdi. I'll fuck him up! -Ismail! Come here! Come here, I'm telling you. Don't make it any worse. Ismail, I'm talking to you. Let go. I'll fuck him over right here. Stop it! I'll kill that fucker. I'll fuck you up, son of a bitch. Come on, throw it, you fucker. -Stop cursing, son of a bitch! - Get lost! Leave it, Ismail

. Get in. Come here! Fuck off. Get him inside! -Look at that bastard. -Come on. Letting a drunk provoke you. But he kept cursing. And this thing with Romeo and Juliette, adaptation... ...it was very dynamic and very interesting. The sexual attraction between the youngsters which they can't resist. It's a love story of course. I wouldn't have mine taken either. -I won't. -"I won't" is better, more determined. I won't have mine taken either. What? I mean if I were famous I won't have mine photos t

aken. Nonsense. I won't put up with such things the whole day. That's something else of course. Everybody has their own principles. Everybody has their own principles. Ah, here's Mr Aydin. Cut. Let's be faster. Without breaking words apart. A little more relaxed. "Why do you bother?" Something like that. -You've changed it completely. -What? The script? -Yes. -But I've kept the meaning. "It's maybe better to hand the painting to the thief, rather than protecting it." Something like that. We have

to keep the meaning but what's more important is to keep the spirit. Your large behaviour should not change. I don't want you to become too alive all of a sudden. It's not good that you listen too attentively. -Alright. -Just listen as if out of courtesy. Alright. As if it's casual talk. "-I don't know, maybe you're right but..." "-I don't know, maybe you're right but..." ...it seems so fake to me while struggling against evil." Struggling efforts. I get stuck on those words. You can say "The w

ay we struggle with evil..." ..."our efforts to struggle..." or "our struggle". Anything goes. Like "We people, we humans..." When you get the meaning right... ...you can use any word you like, it won't matter. I can paraphrase it to you in 50 different ways. "I think our struggle with evil involves something that is clearly not sincere. I don't know exactly what it is but it is there." This bears the same meaning, although the words are completely different. That's why I say it's important to g

et the feeling, the underlying logic. Trying to remember the words prevents fluency. Like we're hiding something and not explaining them. I've completely understood your point. I can say it in all my own words. But then I get used to those words I use and when you want them to be just like the script I get carried away from my memorization. Let me first say what's in the text and then I can do the versioning. Alright, as you wish. As long as you keep that attitude I want you can do what you want

. -Good then. We were pretty much in control of the script. But Nuri Bilge wanted us to be more in control of the situation. That's how he works. "Let's be in control of the ambience and situation of that scene... ...and let's see what comes out. Sometimes he would seize the initiative... ...and make even the slightest interjection according to the script, being loyal to it. And then he'd say "Let's forget all about this." "Let's go crazy and see where we're heading." I felt like I was back in m

y school years again. It was such a different work for me. But I still feel that there's a dishonesty in our struggle with evil. Like there are something we're hiding and not telling. Like what? Fatma. This is frozen. But some time has passed since then. We'll do as if it hadn't. Same emotions continue. In order to create the sense of an infinite conversation the emotions remained the same, despite the passing time. We have to get something like that in the editing. Now... And he introduces such

a discussion into your life for no reason. This is so utopian. There was something like that once. But now it falls down into your ordinary life like a meteorite with it's absurdity. -Very absurd. -That's what makes you irritated. Something like that would have a precursor, some people more likely have it in their lives. Tolstoy thought a lot on that. He deals with thoughts and anyone dealing with thoughts can arrive at this point. But when you read and insert it suddenly into daily life it has

more a meteor like effect. That has to be annoying. One gets stuck with a book and forces it into daily life. That's a completely nonsense. What's that got to do with anything? That is really annoying. And in fact Aydin was annoyed. If we think about it in its own context... People cling to some sayings in order to rationalize their situation. -Yes, sure. -For example. "All I know is that I know nothing." Something you could use to rationalize your ignorance. Whereas this is something that come

s after a huge knowledge. Exactly. This means just the opposite. Let's shoot... 5-10 more. If a character behave in line with their characters all the time it's no good. -Yes, no good. You know sometimes such a negative thing couses to emerge something positive. Such things happen. A fight can turn into a bigger love, etc. Such things happen in families as well. There are certain chronic issues between husband and wife or within families which can only be solved with a big and substantial fight.

Like one nail would drive out another. That issue goes on submerged and hidden. But the only remedy is a great violence. I don't love you but I'm marrying you because your father's rich. -He's letting his tongue run. -For heaven's sake. Now look. We shot this template. Therefore you can feel more free now. Shall we go back to the script? For example, your talk at the beginning I mean the text, that was the best. -Oh really? It was very swift. Yes, I tried to make it swift because you said so, t

hen I let go. Exactly. That was the best. But after that, don't use the words like "for example" that much. Get straight to the point. Forget those completive phrases. Yes but it sounded like they were dropping that subject. -And he makes fun of all my examples so I'm thinking he'll do it again. Yes, some of those were fine. But still. Go straight to the point. I want them to be out of the blue. Those bold opinions should appear out of the blue. When you keep saying "for instance" that softens i

t up. It's completely irrelevant. You said let's give the painting to the thief maybe he'll feel shame and won't take it. -Are you joking, Aydin? -No, I'm not. Didn't she say so? -I'm saying... -She's trying to cure the thief by giving away the painting. Are you two alright this morning? Aydin, are you alright? -Explain me what you've understood. -What I understand is... -What? -Necla says maybe he could overcome his evil... They're going to insist but you won't kiss hand. That's your act, alrig

ht? You don't like him. You've accepted to do it when you were at home but here you change your mind. You just look down and continue being stubborn. Even if you get up and walk till here you don't kiss his hand. His hand is left in the air. -When he pushes me, I'll move this side. -Yes, you'll do so. Well done. A little more fluent. Don't make much accent. -A little more plain, monotonous. -Fine. Like you're doing an ordinary talk, as if you're talking at the mosque. -Fine. -There should be an

annoying monotony. Don't make it sound as if you're saying something important. Without pauses and such. More plain and monotonous. Easily jump from subject to subject. Because there is a small risk to incline to caricature here. But that was good. Imams have a strange self confidence. They're getting many house calls. And they're treated with great respect. That's what I kept thinking about. He says "come in." -I look down... -You see the mud. Well, I would still enter and say "Sorry, we got th

is place muddy." No, everybody would hesitate with muddy shoes. I would hesitate as well. We need a reason why you don't enter anyway. We use the mud for that. It has nothing to do with your personality. Ilyas, come son. You don't even have a moped? I'll get one when things start looking up. God willing. Luckily the house is next to the mosque. Five round trips a day would have been hard. Chased by dogs. God bless you. Is he your son? He looks like you. No, he's my nephew. My brother's son. I do

n't have any children. You have to get that checked. Alright, fine. That was some nice noise from the door. This conversation sounded more natural earlier. Something's missing now, I don't understand. Was he saying "Get it checked." Something has happened. It's no good now. It seems a bit forced. What's so urgent about it? Nothing. But the engine too is making a noise. -What noise? -A kind of "zheeee". When I put too much emphasis, it sounds like I've made up my mind... ...and don't ask him. May

be I'm mumbling. I don't know. "Noise in the engine" excuse is too unconvincing somehow. Which one? The second engine tactic. I'm doing that on purpose so that it doesn't seem convincing. Since I'm lying, right? Yes but you don't have to reveal that to the audience. Leave that to us to discover. I don't want you to underline anything there. -So I'm really going to lie? -Of course. Would you make it obvious in real life that it's a lie? The audience is not stupid. What am I telling you? Acting is

hiding, not showing. Now we see the problem. I was wondering why I understand it instantly. Only someone who knows you very well should understand it. Him for instance. Alright. If the spectator is active and thinks that "I have figured that out, I'm smart." Then it'll be more effective. If it is revealed, I'm taking for a fool then. Alright then. Alright. Fine. -Cut. -That was good. You've added that syllable at the end and it was great. A little touch can change a lot. We'll get ambience soun

d. Are they upstairs? Oh I didn't see you. Did you come by car? Yes, by car to make a surprise. Silence please. -They're recording ambient sound. -Sound recording? -They're recording sound. What is this mess. Films should be shot with these small things. "Silent Night" was shot with this only. -Am I right? -Just this one. And he shot it. You see, they've put those over there. When it touches the soil it turns into soil. He made a wall here. If it stays on the wall it gets hard. The ones below ar

e harder, those above are soft. I act the knowing man now. Come here. Come. We said no smile. Anyway, fine. We're going to record. Come on. Sit down. Sound. -Rolling. -Camera. Now, Mr Aydin, apologizing is not easy. As for repentance, it's a matter of maturity. Look at the women occasionally. You think of this as a situation you find yourself in front of them. This is fine. "You say 'far away'." "No, I mean it's a long way. That's why I'm telling." "I mean it's a long way. That's why..." What el

se? They came yesterday too. Let's add there for Hidayet something like "At least on the way back." -At least on the way back... -Hidayet could give you a ride. Hidayet could give you a ride on the way back. You said "we", it was plural. "The last time... yesterday..." You remember yesterday because Hidayet told you they came. Did you come then by foot as well? -Let's make that plural. -Did you come then by foot as well? Yeah, we did. Why didn't you say so? Hidayet could've given you a lift back

. -At least. Hidayet could've at least given you a lift back. I feel sorry now. -Gosh! I feel sorry now. -Gosh! I feel sorry now. Why didn't you tell me? It says "a small moped." You didn't say "small". It's important. One can understand all motorbike types. -Don't you have a small moped? -Townsmen mostly have mopeds. That's why we wrote it. Don't you even have a small moped? Everybody has them, how come you don't? There he could refer to the debt collection. "We had one but..." Should he say th

at? If one really make him believe that he's regretful. -They are fine. Please, have a seat. You don't even have a small moped? I'll get one when things start looking up. -That would be great. -God willing. Luckily the house is next to the mosque. Otherwise it would've been hard. Early in the morning, being chased by dogs. God bless you. Is he your son? -He looks like you. -No. He's my nephew. My brother's son. Here you talk with Nihal. He'll see you talking when he arrives. Lean on the wall. Yo

u stand in front of him. He should see what's going on. You could have a conversation. These will be alit. We'll set them on fire, it would make light. And then... ...when he enters, he should see something cheerful going on. Something like this. Where will we have the final conversation with Nihal? In the kitchen. She's going to call you to the kitchen. -Alright. -While you're talking here. I go there before Haluk, right? -Where? -Over there. -Of course... Now look... He came and looked. You're

talking here with Nihal. Then he approaches you. We're shooting from over here. While you two are talking, Nihal leaves at some point. Then Hidayet comes and wants to take your coat. And Aydin asks about Necla to Hidayet. While they're talking... you come this way and sit down. Then he leaves and Aydin comes and sits in front of you. And asks you those questions. "You say you don't go out much but..." He says these words and sits down. Then you go there to smoke. He's left alone. It's important

that we leave him on his own as a position. Come in. Is there a celebration? Come slowly this way when they talk. We should get close to them while they're secretly talking. We should track into them. What's up? Is there a celebration? Now... I think you should not answer immediately. "Is there a party going on here?" Don't answer immediately. Like when you catch someone in the act. ...and they remain silent. Don't just answer immediately. Sometimes I think if I can tell all party with the face

s of Aydin and Nihal. Something going on between them. -Exchanging looks. -Only the others voices. I'm going to shoot that way as well and have a look at it during editing. You sense their existence from our point of view. -There are sounds. -And you won't show them at all. -To remain completely in your world. -Could be interesting. We can have all the dialogue with Suavi in your face. You're talking but at the same time you're checking Nihal. And Nihal is watching you, just like a duel. Hello.

Hello. I told you we'll have a council meeting. Showing an emotion directly is not right. I don't want to see any emotion on your face. Against him and such. Just act normally. I don't want to see anything. Just act normal. -I got it. But I can't enter the conversation. You want me to talk. -How did you do it just now? -If you accept that, fine. Of course. I don't want you to enter everything. But someone says hello and you can reply of course. -Well I do. -But you didn't. You just mumbled. You

could act surprised "Oh, buddy. Where have you been?" I'm afraid of interfering with this tension. -Never mind them. -Fine. How could you know there'll be a tension before it happened? OK. Got it. Yes. Come on then. -I told you. -When? It's nothing to do with you anyway. Shall I take your coat, Mr Aydin? -Huh? Shall I take your coat? He hear that. but he don't reward him by looking at him. Yes, you don't reward him. -What's up? -Oh, how are you buddy? I didn't know you were coming. You didn't ca

ll. You have a bit too worried expression, very curious. Shouldn't you hide it better? Suavi is here looking. Should he speak smiling? -What's going on? -I invited Suavi. Is there a celebration? You're leaving too early. It's like you run away as soon as Aydin leaves. Let's forget about you first, then we see a shadow passing. Hide your emotions a bit more. Fine. Put on a poker face. When you keep your mouth slightly open it looks like you're worried. Keep it shut. Take a deeper look from the in

side. When your mouth is open you appear curious. Like "What meeting?" -I see. Should be a little like this. Play with your eyes, you can look around with your eyes. -I don't know but... -It's alright, I got it. You're right. There you go. Cut. This looks alright. -The pauses were good too, right? -Yes, it was fine. -When? -Don't you remember? You said "hmm" or something. You sound like you're calling her to account. "When did you tell me?" -Should I skip that? -Yes. Without calling her to accou

nt. Smiling and lightly passing over it. "When did you tell me?" Slightly smiling. Alright. Yes, this seemed like I was calling her to account. You try to conceal that but she still catches it. -Of course. -Something like that. What's the mystery? Is it an army council meeting? No such thing. It's just a meeting. -I already told you. -When? Yeah, this feeling is much more correct. Cut. More correct... And why? We should leave some of it to the kitchen scene. If we spend it all here, then the kit

chen scene will be harmed. And this seemed more civilized and more out of life to me. Right? -Yes. -It's alright. Let's shoot alternatives. Also without the line "I don't remember". I should let Nihal go. Where's Necla? -In her room. The audience should extract the meaning from the deepest points. Like in real life. -Exactly. Say we have a fight with our wife. We have to go deep to grab the truth. -Sure. He seems to act nice. -Yes. I think we've played it wrong up to this point. This is it. -We

had versions like this. -Do we? -Yes, we have. -Not like this. It has always been more worried. -Yes, slightly more worried. -Luckily this angle is the best. When we do a close up you concentrate on one person. That makes it easier to see what is what. -Let's work on this version. -Alright. Should I stop Nihal in this one? Should I stop her, or let her go? Let's have this one without stopping her. -Then we'll finish. Then we'll have one without stopping her. This is good actually. I don't want t

o get closer. A little bit more to the left. -Like this? -Your own left. This is it. This is safer. In what sense did you ask? Nothing. Off you go. Good, that was good. You say you don't go out much but you're rarely at home. I don't go out. -How are you? -Hey, how are you man? I didn't know you were coming. You didn't call. -I didn't know either. -I invited Mr Suavi. So I figured. Is there a celebration? No, we're just having a meeting. -A meeting? -Yes. What's the mystery? Is it an army counci

l meeting? Didn't I tell you? I did. When? I don't know, but I did. You said "hmm" or something. It was odd that you weren't interested. I said "hmm"? I don't remember. Never mind. It's nothing to do with you anyway. As if you didn't know. -Nihal. -Yes? Where exactly did you tell me? I don't remember. You heard, it's none of your business! Shall I take your coat, Mr Aydin? Your coat? -Where's Necla? -In her room. Why? Is she upset? No. Do you want me to go and see? No. Did she come down today? P

robably. In what sense you ask? Nothing. Off you go. So? I thought you never went out. I don't really. Nihal called me, I couldn't say no. What if her shoulder touches you while you're having breakfast? What if she falls on her breakfast? I'm with Fatma right now. Do I come when it falls? Am I? Is he going to say something? He may shout "Hidayet"? -Hidayet. Or I'm already inside with Fatma and I would come anyway. It's like you pop up each time you're needed. -But I'm very close. -But that part

was empty. Because I took the coat and then looked if anybody was there. Where they keep the breakfast food? -Yes. We could take it from there or... -Take it easy. -See you. Goodbye. He says "Why don't you sit down? Don't stand there." He says it to us both. Of course to both of us. I will say "I'll sit down but I'm a bit cold." Because I came half an hour ago. I'm a bit cold. Mrs Nihal, can I have some of your coffee liquor? Of course. Anyone else? Mr Suavi? Me too, honey. Don't you say "I'll h

ave a tea." I said coffee liquor instead of tea. I just had tea. But you won't get liquor. Asking the same thing and if you don't get it, could it appear too harsh? -she may be lazy to make tea. -Is she going to bring liquor? She's going to ask me to come because of power problems. -I'm bringing it. -So you're bringing liquor? At the "Levent, not Bülent" section. -In that case she won't get you liquor. -You're right. She doesn't ask you but as she leaves you call after her. I'd like a glass of t

ea, Nihal. Thanks. Add "thanks" at the end. And I'll have a glass of tea, Nihal. Thanks. Mr Bülent. How many schools are there in town? Levent, not Bülent. I'm sorry, Mr Levent. There are two in the center. And how many pupils? How many pupils? Don't say "I'm sorry." -Just turn and look. -So I shouldn't correct "Levent"? Don't correct it. -Fine. I said to you to make it over there. -You said to hang it higher. -How could you hang it higher? Don't you see the slope? -Don't you see the slope? Shou

ld it stay there like a hammock? -Should it stay there like... -I see, Mr Aydin but... -Like Damocles' sword. -Say "I'll fix it below too." I'll fix it below too, Mr Aydin. -So it stays like this. What if it falls on a customer having breakfast? -It won't fall. -That's why... Anyway... -You say it wouldn't fall but... -Only God is infallible. That's what I'm saying, Mr Aydin. Not like that but like this. This should fall further away. Like this. When he gets out he takes a look. You just put it

there, it could fall on a customer. I just touched it and it fell. You pick it up and turn towards the people. They put these on the walls. -They put these here. -I barely touched it and it fell. What if it falls on someone having breakfast? What if it falls on someone having breakfast? No, you should speak to these people first. What if it falls on someone having breakfast? Now you can call Hidayet. By turning to that side. What are you doing, man? I just touched it with my shoulder. Hidayet. I

t has to be the correct reactions. -Yes, yes. -I really fell down. Of course, of course. Get this place cleaned. When he say something irrational, -You insist on logical ground. -Sure, I insist. Never give up being rational. Because without that... For example what does "wide side" mean? I didn't get that. I mean the back side of the frame is wide. What if it's wide? So what? A notch will hold it and it won't fall. if the nail head is big enough, it won't fall . The nail head will hold it in its

place. Yes but I told you to put it up higher. How? Don't you see the slope? Even if the nail head is big, if falls when you push it from below. How did you put this on the wall? Look at that nail. Is that any good? What's this? I don't know what to reply... While you're talking to Levent, interrupt him while he's talking. Say something to Suavi etc. So that we see you're not listening. I'm just thinking, after such an event you may not talk this small teacher like nothing happened. -But he's v

ery curious about Levent. He is coming and going to his wife. -Yes, but because of this accident the priorities may change. I mean, should we mess up the Levent conversation a little bit. "Aydin, calm down. Never mind." Shall I add such things? -That could provide a connection. -Possibly. Something like "I always have to stick around to make things happen here." He said "Mr Suavi's wine is also gone". We should mess up that dialogue a bit to show your complex state. Your Levent dialog is too ste

rile after we add such an accident scene. You're right. Because the accident has become quite a big issue. Yes, it has become a big issue. And we're still sticking to the script in Levent dialog. I'm still stuck with this disgrace. I lose my face just as I'm about to meet Levent. Suavi and a close friend is near by. I could look at Suavi or look at Hidayet to see if he's cleaning up. Say to Suavi, "Look at that mess." Mr Aydin, nice to meet you. I'm Levent, the teacher. -You're wine is wasted to

o. -Never mind. -Tough luck. -I guessed so. Sometimes you don't finish your sentences, because you feel it's understood. That's OK but we should also have clear and complete ones. Something like "They leave this place unattended and then we have problems." Not exactly like that but in full sentences. It appears as if the issue is not solved in your head. Than that talk with Levent seems psycologically incorrect. It's better if you feel like "I've solved the issue and handled it." It would be cre

ated better with definite sentences. Alright. "They hang it over here and when your shoulder touches it, it falls down. What if it happens during breakfast?" Such a clear structure solves it all. Alright. The director sent that pin you wanted. Here you go. This is not the colour I wanted. The colour may not be the same but the year is. It's a different version, came in this year. My shoulder touched it and it fell. They did here... Hidayet! Aydin! Aydin! What are you doing? Aydin!! For God's sak

e. My shoulder touched it. I knew this would happen. Look, they've used such a thin nail. You have to do everything yourself. Hidayet! I'm here, Mr Aydin. Such a thin nail won't carry it, could it? He used something as thin as a needle. Hidayet! I'm coming! Look what happened. What did I tell you? You've used such a thin nail. -Could it carry this frame? -It won't. I told you to use a wide head nail. -A wide head nail is no good here. -Why not? Look, there's a notch. A wide head nail would fit a

nd the frame would not fall. -The hooks are wide. -Even better. That's why I'm saying. If you use a wide head nail, it would fit between these hooks... ...and wouldn't fall. What if there was a customer here? Mr Aydin, when a customer touches it from below, it just drops from above. I'm telling you to use a wide head nail so it wouldn't drop. I'm saying the same thing. I told you to put it higher up. How are we going to put it there? It's not straight. -Should it just swing here? -It won't. I co

uld use something to fix it from below and nothing will happen then. Alright Hidayet, you'll do it later. Call Fatma and get her to clean up this mess. -I'm sorry. -No need to. Hello, I'm Aydin. Nihal's husband. -Oh really? Nice to meet you. I'm Levent, the teacher. -I guessed so. -Really? How? -I've wasted your wine. -Never mind, man. You come often. I've heard about you. I'm not sure what you're doing... Yes. Mrs Nihal could explain it better. But we're collecting donations to renovate disadva

ntaged schools. Since Mrs Nihal joined we've made a lot of progress. -That's nice. Bravo. -Thank you. Why don't you sit down? Please. Come on, Hidayet. Don't break another thing. Of course it falls when you use a thin nail. What if a customer was there? These walls have become like sand. Even if you use pegs and thick nails... ...it wouldn't hold. -Why shouldn't it hold with pegs, Hidayet? -It doesn't, Mr Aydin. -You have to put concrete in the peg. And then you put in the nail. I'm saying the s

ame thing. If I could drive the nail good, we wouldn't have a problem. -I'll handle it. -You need to keep an eye on such things. -Levent, what would you like to drink? -Well... Hello, welcome. -Hello Nuri. -Hello Natalia. How are you? -Fine, thanks. How are you? -Your first time in studio? -Yeah. First time. Actually in "Anatolia" I shot a few car shots. We went to winter first, to the east of Turkey. And then it was too late, so we came here. Weather conditions pushed us. -Okay. And also the ac

tors didn't have time. He's a very busy man. I imagine. So busy for the last 75 days... It's the 75th day today. Not a day off. I realized afterwards that I could really spend that whole year. Because they have to be very very special people. As you say, if the casting is right, it works perfectly. -Yeah. -If not, it doesn't work. Whatever you do it will not be working. This big monitor I never use in the locations. We have a small one. -Yes, yes. It's enough. Actually I was using the same small

one here but it's broken. They brought this one. So you're leaving these as margin. So you can move up. -Yes, move up and down. And in 4K, you can even use even this small area, without limit. Nobody notices it. -You can do a zoom or whatever. Alright, sound. -How is this? -Lift it a bit more. Camera. No. Don't put it too centered. No, not in the middle. Lift it without shaking. Sorry. I'm restarting. This is loose. -This? -I didn't touch that. Yes, breathing. You can leave. Yes, movement. Look

at the table. Enough. Yes. Yes, after a breathing... Don't raise your head. I took a breath and raised my head. If you haven't raised your head... Yes but when I took a breath the head also raised. It was like in the first shot. Was the rest fine? -Yes. I failed. Sorry. Action. Yes, Haluk. Close up, closer. It's a bit out of focus. Can we do something like this: There's a hesitation. Could you stand up like this, in a forward movement. -Would be smooth. -Here we have a half movement. -Just forw

ard. -Alright. Was this place so tidy before? We did it for the cables. It's become tidy all of a sudden. Yes, ready. Sound. Camera. We're rolling. Action. Yes, Haluk. There's a... Standing like this is another problem. Yes. I've missed it. Yes, alright. Haluk, let's not raise the head here either. Like I said, when I say breath... ...you do it. -Yes. Should be the opposite, like having it more to the down. Yes, exactly. I've noticed that too. -The stand up part. -Should we have a balance there?

-Do it like before. Because everything changes for Gökhan. Yes, I mean... Do it like before. No problem. I make a few shots, you know. I make 200-220 shots. No more. And I take three months. How many shots are you doing? I suppose 300. -In the film? -Yeah. It depends. It's getting more and more. Yes. It's getting... Carlos is the same. He seems... I don't know, it is about the movie. No, always, always. I always make 200-220 shots. -Yes. -Probably change also. The last one has 230 shots. -30, y

es. -In the whole film? -Yeah. -Yes. -It's quite a few. -It's quite a few? But I don't shoot more than that. So... yeah... and three months is just enough time for me. You're in deep thoughts here... ...you should lose that while you stand up. We can still see from your face as if you're still in a trance mode. You need to come back to this world after that. This one here... This one from the... -Okay. -Sound. Lower your head a bit. Yes. Don't move your hand. Yes but you should be the one sendin

g him away. It should look as if the talk's going to infinity again. Come on, come on. It would go to infinity with Hidayet of course. I'm going to enter the scene. I'm memorizing my lines. Because he wants it word by word. This is so good. Do you get this from Istanbul? Because I've never seen this brand around here. The way you say is bringing about another feeling, I think. A feeling which is not understood. Bravo. You're well-informed. Aydin wouldn't fall for his tricks but you do. He knows

that you're shooting a line there. You're well-informed. When Suavi say "Well, I spoil myself with these. What else is there to do?" you use singular form there, that's wrong. It becomes like "you deserve it because you've grown old." -Did I really say "singular"? -yes, in the last two take. Well, we deserve it, Suavi. -Well, we deserve it, Suavi. -At this age. At this age. -We deserve it, "plural" of course. -Yes, in plural. It's like you put both of you in the same pot and bring about somethin

g warm. you've found a harbour to shelter. while you were feeling lonely Suavi seems to feel much better than he used to. Say it out by creating that warm feeling. -Alright. -Well, we deserve that much, Suavi. At this age. -Some sort of... -Effort to create intimacy. Add something like "Oh, that feels so good now that I'm warmed up." "The stove feels so warm." Let's feel a nice sensation. I don't heat up all rooms, dear Aydin. After my wife died I closed off most of the rooms. Not "keep them vac

ant" but "closed off". The rest was fine. And you should here... Don't make it sound excited but feed in the lines... You have to stand behind your words. Oh, Mr Aydin, you're here too. How nice. -Alright. -Not like... Not like you're passing it off. As if you admire your own words. Oh, Mr Aydin, you're here too. How nice! How nice! And it was like as if you've talked without seeing him first. You opened the door but when did you comprehend him and... -Just enter first. -I see your point. I real

ly did it without seeing him. And then... Talk with Hidayet was too short. Do we need more pauses? "Don't tell anyone back home." "What should I say?" "Say nothing." "Don't tell them that I didn't leave and that I'm still here." "Don't let them know. Alright?" Make it a bit longer. Be sure that he understands. Stare in his eyes. Because you don't trust him. -Of course. We have too feel that you're not trusting him when you stare at him. Alright. Don't be satisfied with his "alrights". I have thi

s relative of mine who's a doctor. When he used to prescribe medicine for villagers they'd used to say "Fine, alright." when he told them how many to take a day, etc. When he asks "Now tell me how to take it?" they all give wrong answers. He goes on until he gets a correct answer. You know, only in the Turkish army you have to repeat orders. -Really? -Yes. "Go get me a pack of cigarettes." "I'll go and get you a pack of cigarettes, sir." There's repetition of orders. -It's well in place. -Yes be

cause they don't understand. The day we were talking at your house I thought "Finally someone worth talking to" and I felt joy. Not "someone to talk to." "Someone worth talking to. But you vanished all of a sudden and we couldn't talk. Talk a bit heavy. You seem to be in a haste. Yes. Is it alright if I sprawl about like this? You're like moving back and forth like you're overly excited. I mean is there any problem if I talk like this? I'm holding myself equal. Sit like this if you want. Fine, I

'll do that. Sit like this. Closer to food. You're sprawling about and then you fetch things. If you want to get things you remain closer to them. Like this? If only we didn't have to work and could eat them up. And hard to stop till the end. Not possible before you finish. It would spill all over in front of TV. -Definitely. What was it. Yes. "I got no sleep." "I found a few people to have a chat with." Not "do a chat". We don't say "do a chat". That's true. You become the parents of 40-50 chil

dren. But still you want to find an equal soul and have a conversation. I had worked on it... on the character. Together with a master I usually practice with. When I came to the set I saw that this practice would be of no use. And I forgot what I knew. Then I reset everything did the memorization as good as I could came to the set and started everything from scratch. With the directions of Nuri Bilge. Therefore I tried not to come to the set with my previous knowledge and experience but rather

just memorize, reset my mind and reconfigure it. I figured out that the work style here was like this. I memorized my lines, came here. "Yes, sir. How are we going to do that?" And he directed me. With those directions the character was re-established on the set in its environment. We'll see if it's succeeded, when we watch the movie. There should be self-confidence. You seemed to have none. There's a restlessness. This should be a easy going man. Otherwise he couldn't talk like that with those

man. They're much older than him. He should be a little more carefree. Someone who has a nervous and timid character wouldn't or couldn't establish that friendship. With people at that age, like Suavi and such. But he is cautious about his talk and behaviour. Remember how confident you were in your previous acting. -He was very insincere there. -Let him be. We're not trying to make him an ideal man. He must be convincing first. And he was not insincere there. It's his radio house. He can feel a

bit more superior there. That's normal. Why should he be insincere? Visually he was a man who's listening to his inner voice. If self-confidence is insincerity, than yes. But he is self-confident. Self-confidence is self-deception to some extent, I accept that but make him self-confident. Alright. Let him be self-confident. Otherwise he couldn't utter these lines. Could he say those? He couldn't. That's impossible. "Faith is the desire not to know the truth" says... ...Nietzsche. This is how I s

poil myself. What else is there? We deserve it at our age. I feel warmer now. Thank you. The stove is burning nicely. I don't heat the whole house now. After my wife dies I closed off the rooms. I use them as storage. And I set up this stove here. It's like a shelter I curl up here. And it helps me save a bit. By the way, what did you do about the letter? What letter? The one you read to Nihal and me. Garip, the girl, help, and all that. I didn't do anything. Teacher! You made it. Indeed. Mr Ayd

in, nice to see you. Thank you, Levent. -Don't get up. -My foot's gone numb. If it's only numbness, you'll be fine. Hello. We had business nearby, so we popped in. Good idea. How bad are the roads? Terrible. I had a hard time getting here. Mr Aydin, I'll be outside if you need me. Alright. -Hidayet. -Yes, Mr Aydin. Listen. Sorry. Listen. Don't tell anyone at home I'm here. I don't look so well. She deleted the picture. I get to listen a preaching for half an hour now and then. I can say I wish t

he best for you and for the film. Thank you. You are really unbelievable Bahman. Isn't he just like an actor. We should have something on that white spot. Is this really the house at night? -Yes It's beautiful. -I shot this at the real house. -Really? -There was such a house. Your beard caught my eye today. -Is it long? Would a teacher have such a long beard on weekends? We shot it like that, can't change it but has it grown even longer today? It keeps growing of course. What do you think? The n

ext day it is shorter than this. Could a teacher have such a beard in a Saturday? Normally he shouldn't have it. It's a village school and nobody sees it perhaps but... still it seems a notch too long. Here Nihal is being praised and that should annoy you a bit. "When a child has a nice toy everybody want to play with her. That's normal. Especially if she is also carefree. There should be some sarcasm directed to Nihal. You're saying it wrong here. "It's a fact that carefree people live longer."

"But if you're not created like that there's nothing to do." You say "If you are created..." I see. You believe that you should be carefree but you're not created that way and you make an issue of everything. Therefore I can't be like that. That's what you're telling yourself. It's a fact that carefree people live longer but if you're not created like that there's nothing to do. Like "Unfortunately we're not like that." "Nihal is not also that carefree actually." Here you can't stop being fair.

What else? Such a... Stay like that and say... "It's a bit warm in here. Should we open a window?" Mr Haluk takes the glass while leaving. Then he says that he'll open a window. It looks like he's leaving to go and sit there. Yes, that's right. Either Tamer has to enter... Or don't take the glass. Take it later. I'll just take it on my way back. -If it won't bother you. -It won't. Take it later, it's better. And then... At the beginning you can change the lines according to your feelings. But m

ake it more fluent. -But you're skipping a lot of lines here. -I know. That's the part I like most actually. "When did the house become so empty?" I'm trying to seize a feeling in my mind while I'm acting. It's not just a feeling. I want to catch that rhythm also. so when trying to add things it goes down because of this emotionality. It's your scene, my friend. I'm going to take close-ups also but... we must have a correct wide one first. And the traffic should be clear. We made clear that you'

ll come back for the wine. We can ignore the previous takes all. You don't want it to be too thoughtful. I'm a bit trying not to offend him. You can be sensitive when talking about Nihal but... Should I speak very directly? Or should I be more delicate and careful. Considering too many things may influence your acting negatively. -Just be plain. -Plain. -Plain and fluent. -Alright. Bilge watches the first take. He says it's fine but at that moment he starts thinking. You can tell it from his eye

s. You can tell it from the way he walks and looks around. Then he puts his thoughts together and says "Lets's shoot this again." Meanwhile he begins to tell his thoughts. And after a while you realize that you're plunged into amazing details. "...that mother's little boy." You should go back to those days and speak with a smile on your face. But you say like "that mother's little boy..." It's like you're giving a lecture. That's no good. You must be plunged in thoughts. Your words should sound,

like a lullaby, a fairy tale. Without ups and downs. And faster, more fluent. You can look maybe when you say "Don't be mad at me." At certain moments. But you look at them at unnecessary times. You talk too much towards Levent. I did something different. Even if you look at them it should be indirect. There are things you can say to them and some you don't. Not much emotion. Like mumbling, plain, as if you're talking to yourself. Should sound like a lullaby. Yesterday it sounded more like it.

Because I really got sleepy then. He says "I got sleepy so you might have acted right." You should make the audience sleep here. I used to play in the garden here as kid. It felt life would go on like that forever, with my mom and dad. Where is all that now? Sometimes I wonder what happened. When did the house become so empty? When did that mother's little boy end up... ...a drunk, lonely old man? I got married. Had a child. Where are they? Wife in the grave, daughter miles away. What I'm saying

is... ...since there are certain things you can't change... ...you have to be a bit flexible. Don't judge people so much. Accept things as they are. Is it a bit hot in here? Should we open a window? Of course, go ahead. We'll shoot that but I want a different version on it. When his last words sound a bit threatening, stare him. Stare at him while you're listening till the end. Which part do you mean? -When he gets up. -Hmm, Shakespeare. Don't make it obvious what you think. -Alright. -Just lis

ten. He says in the end "Good night." The audience should not understand your emotions and reaction. Should they get the feeling that I'll hit him? -They should understand nothing. -Okay. Just as he passes by, catch him. "Good night." No no. "Good night" is not like that. "Good night" should end here. "Good night." Not like this. Then you must go a bit more courageous. Bang. He catch you here. Don't let go off his arm. Make it look like he wants to go away. "Come here." Where are you going? Just

a minute. -Let me contribute as well. -Now you can let go. -Let me contribute too. -Step back when he let's you go. Alright. So that your hand out of the frame. Look, when you hit keep your arm a bit longer in the air. Don't hit quick. Something like this? Let me see. Yes, like that. I'm going to show the action. Like showing the action. Shouldn't be too instant, too fast. Yes, ready. Just a minute. Just a minute. Allow me to contribute the following lines to this meeting. As a reply. "Conscien

ce... ...is but a word that cowards use... ...devised at first to keep the strong in awe. Our strong arms be our conscience... ...swords our law." Good night. Hold on, hold on. Allow me to contribute the following lines to the meeting then. As a reply. Our infallible fate... ...is to be deceived in everything we attempt. I make brilliant plans each morning... ...and fool about all day. There you go. You've pulled your trick again. Are you alright? Let it out, relax. I think it's going to be grea

t. God willing. This is the last one. But it's nice. Since the beginning of the movie I've mainly built locations for men. So I've got so used to be messy. First time here a woman location. Liked it. I think Nihal should sit there, looking at the flames. And deep in thoughts. Then Aydin arrives. Leaves the documents and says "I've changed my mind." And then as she sits here. -We're ready shooting. -He may stay here and talk to her. It was page 120 or something. Sorry, earlier. page 90. -Good nig

ht, everybody. -Good night. In front of the fireplace... Nihal faces the fireplace. but Aydin stays sideways and he faces Nihal. -We see him from the side. -Yes, should be like that. Aydin takes the schedule and... There are such things here. -Like what? -He takes the schedule. The location of the table is important. Shall we have a look over there? They've probably arranged something. We can't have two chairs in these positions. It looks too elaborate. Not elaborate but she lives alone in her r

oom... ...so we placed two of them. -So you feel he sits here? -Yes. Since there's such a thing. -Just too opposite of her. Is there a basket here. -Yes. Looks like he stay too much in front. What if he is like here? I made some preparations for the divan. I got the sheets and the pillows made. I've created a different divan for her room. We have the material. I thought about it at night. A divan or a sofa. That sitting group looks like of no use at all. Can't he just lie down here? If we put a

pillow here. Let's not think like that just because they're there. Let's imagine from scratch. Would it be ridiculous to have a sitting set over here? No. We can have it right in front or around here. Would you use something like this for Nihal? A nightstand, mirror. We had it in "Three Monkeys". We saw Hatice in the mirror. -We see her from mirror. -Some shots from the mirror. It's woman's room. That could work out for you. -That system... -For her second coming. Maybe she sees him from the mir

ror. What if we have the bed over here and those two chairs over there? Nihal, I hope things turn out as you'd like. Do as you want. Aydin seems too oppressed here. This is not it. It should be more... He should try to save his pride. Don't make concessions. If you were a man who'd make concessions your relationship would've been easier. -It's the pride in fact which blocks the relationship. The obstacle generally is the pride. It never let's you go beyond a certain point. When you say those wor

ds it's like those are your last words. Like you're continuing because something new came to your mind. At the ends of the sentences we shouldn't sense that you'll continue to speak. -Like you said the last word... -But something else came to my mind. Being sarcastic saves your pride, because you say something risky here. Aydin shouldn't be that fool hoping to influence with a tirad. But more like "That's what I'm saying and I'm aware what it really means." So I'm like completely away from this

room. It's as if I'm talking at daytime. I don't care about the romanticism, the fireplace, etc. I'm somewhere else. -Exactly. Never mind the fireplace. -I'm in a different tune. Only Nihal is actually here. -Yes. Sarcasm, ignoring, pretending to say things. such things weaken the literary effect of the dialogs as well. I see. Another important thing. We talked a lot about this with Ebru as well. Ebru too considers it very important. When he says "What is my fault then?" Nihal shouldn't be ready

to answer. -Yes. -She should be surprised for a moment. She should find it hard to say anything. We should sense she doesn't know. There shouldn't be a pre-thought style answer. First she should notice that she actually has no answer. And when the question is asked again ...and I believe those questions should be sarcastic... he should feel he has cornered her. "So what is it then?" Even with the second time don't act like you're prone to give an answer. Make him insist in a way. When he gets i

nto the "There you see, you can't answer" mood... then you start. Because the beginning of that seems a bit didactic. Suddenly you start a long monologue. What about... would it be too late if I sit up at that moment? He pushes my buttons. "I can't talk right now." -If you sit up there that monologue will be too underlined. It's going to look as if we're doing something special for that scene. That's right. When you shout her, she obeys you. There you told her to sit down and she did without any

objection. So there's a slight notion of fear in her. -She didn't sit where I told her to, but... That's as far she can go. But she sat down eventually. I think that is an important sign. That means you should always have the potential to use that fear. Since such an attitude works to some extent. Couples use it very well. -They know very well what works. -Of course. -They develope tactics. -They work on the weak spots. Of course. You told me that if I could change some of my behaviour... How a

bout using "once" there? -Alright. -Like this... "You once told me that if I could change some of my behaviour you would forgive me completely. Remember? I think it should not be in a question tone. Remember? You should be imperious. As if you're not demanding anything. You remember what you did. "What kind of guilt is that?" Just laugh, agitate her. -There can be a short laughter. -What kind of guilt is that? What kind of guilt is that? Something like that. This way you stimulate her into talki

ng. What kind of guilt is that? You are actually an educated, honest, fair person. One could say that you are generally like that. I've got nothing to say against that. But you should keep your seriousness. She really thinks it's true. -Yes. But don't give an angry answer because of his sarcasm. -I won't. -Be serious. Like you're fighting only by using facts. Since you insist on this there you go, here are the facts. And... calmer. Hmm.. alright. Just for once... Remain pensive, don't smile that

much. -Alright. -Like, you know... it should be the smile of a person who's tired of explaining someone who is weary. A weary smile. Not like "Oh I found your weak spot, now I'm going to score." Like "Since you insist" It's more effective when it is said calmly. -Same as in real fights. -Yes. Then you have to believe it. You can develope a defence mechanism saying "It was all said in anger." When it is said calmly it hurts more. If his sarcastic words doesn't move you, then your words will be v

ery effective. When you react to his sarcasm, anything that's said can be forgiven. because it's said in anger during a fight, etc. So should I look at all the lines in that aspect? Now you... even if he laughs sarcastically you should be in a completely different mood. Weary, serious... like there's something else. Pensive, weary, thoughtful. -Like this. -I'll have less contact with him then. Yes. Slightly destitute. Tired. Although he pushes you into a different direction you should not go int

o there. Your high principles make you hate the whole world. Was this pace better? -Which one, now? -Now. -It was a notch slower... -It was better. I didn't raise my voice so much. But we should feel the meaning of the words in your face... Just once... ...I'd like you to defend something that might cost you... ...and have feelings that don't benefit yourself. But that's not possible. Here she goes back to herself. Just in time. Well, maybe it worked both ways. I was too young to leave. I didn't

have the courage or the money. Or anywhere better to go. But you didn't feel any remorse... ...seeing a young, healthy, proud, lively woman... ...wither away... ...in emptiness, boredom and fear? I felt fear in our first years. Now I feel ashamed. My best years have been wasted. I shed all my good qualities to struggle with you. I've become tough, coarse, timid and suspicious. Haluk. Nihal, listen. Here are all your documents back. I didn't look at them much. Because I've changed my mind. I'm n

ot going to get involved, stick my nose in. I eagerly want to cross the axis here. Isn't this an independent cinema? We can do that. Since it's independent cinema, let's cross the fucking line, damn it. What do you care about the light? This is independent cinema. Wait a minute. I'll act anyway I like. This is independent cinema. We all have declared our independence, for instance. The director can not pull the team together. The camera could shake as well. In fact if the camera doesn't shake th

e film is not entitled as independent. The camera should shake. And there should be blurs. Everybody has declared their own regime. -Serkan, what are you doing? That's blurred. -It's independent cinema, man. It should be that way for me. Everybody comprehend independent cinema independent of each other. The team has got it all wrong, right? Ready. When you sat here, your head was lower. And looked from below. That was good. Now your head is more up to the front. You told me to, you were getting

no light. You don't have to get light here. You get light when you look. -You're right. -You've been doing it a long time. -I see. -At first you're in the dark and here you are at the dark too but you're looking ahead. Your head should be low at first. And then we should see your eye. -I didn't do that the last couple of times. You're doing it at the second time, you stay like this. I'm doing it in the second, alright. That is the first. Gökhan. When he look her wait a while. Let's feel his curi

osity, then move the camera. And when camera turns to you, you should hear the noise of camera the camera better catch you with that look of you. We wanted a better society and a better life. He shouldn't say society first. Is that so in the script? I think that society should come later. Remind him that he should say "society" later than "a better life". They always attribute things to the society. A better society and such. As if he did it all for that. And they want to connect to a bigger thi

ng. Desiring a better life is not enough. They want to connect to something virtuous. -Society comes later. -Remind him. -I think she should sit. -No, no. She shouldn't. She comes here and says "I want to go to bed" As soon as you say that turn around. As if you're waiting for him to leave. -Alright. Anyway, I'm tired. I'd like to sleep if you don't mind. All this property will be yours. You're not going to work any longer. You'll be the woman of your home and mother to your children. -A little

more emphasis... -Alright. "At least I can admit my mistakes from time to time." "But I've never once seen you take the blame for anything. Am I wrong?" As if you get a taste of the quarrel again. Like "Good, we're returning to those lively days when we had those fights." You feel such a desire and it'll be destroyed by her. You've caught something there, that infinite discussion. It's like you're forming again an organic bond. -You've sneaked into the room. -Fighting involves intimacy. -Definit

ely. -It's a bond. Those who spend winter in villages know those everlasting nights. "You wouldn't know but... ...if you had grown up in villages with not even electricity..." Here you can slightly return to the real world. "...in a village with not even electricity... ...understand the joy and pleasure of being in a small warm room..." If you look at her I feel that it's going to make you ashamed. While you're saying these words. -It's showing off. Like you're acting on stage for the audience y

ou're not looking at. I say "...a better life, a better society" but she mocks me. Our youth was very dull, Nihal. We didn't know how to be happy. So we may not know how to make others happy. Those are what we used to say in the coffeehouse 30 years ago. Yes, like that. But as I said... ...we had no bad intentions. We had no bad intentions at all. We set out with good intentions, pure, innocent dreams. -Like an Ahmed Arif poem. -Alright, alright. I said look up but you're raising your head. Don'

t raise your head, forget that. -Alright. Turn towards this side. Like this. -Not looking at Nihal. -I could look at the fire. Looking at the fire... that's difficult. You're better off in the dark. Look to the other side, more to the back. Nihal... Lower your head. -Nihal. -He could sit a bit more turned. Nihal. Nihal. Those who spend winter in villages... -This is good. Nihal... those who spend winter in villages. He'll start low and then raises it. I'm not like looking at Nihal, right? -No. L

ike I'm in deep thoughts and keep telling. Alright. You say "Give me that list before I go so I can make a small donation." She says "Do as you please. I don't care. The list is there." She rebuffs you. You should look at her then. Like "This goodwill is not appreciated either." "I gave the damn money. Shouldn't I had given that?" "Can I keep half of it." "I gave 10.000 in vain." Move to his face. Gökhan, why are you so slow? I try to understand. When I got down there I couldn't do it. Is there

too many movements. Maybe we should change Haluk's acting. -Why? -He looks down, then up. Down, up. That causes problems. What if he puts down the envelope first then he signs it. We tilt up clearly. No, no. No need to change Aydin's acting. I think you should come with his head then go down as he... put down the documents. -Alright. He lowers his head while he's signing. As soon as he starts to sign we don't have to see the rest. Go to the head again. -I go down with the envelope. Yes. Swiftly

go down with the envelope and then up again. Alright. -What if you do it from this side. -Of course. Otherwise you directly face the camera. It's not meaningful. It's better from this side, right? Sound. Rolling. Camera. She turned her back. You look like seeking a glimpse of hope. You don't look there. Don't go your inner world. "Fine than, I'll go." To the same spot. Like you're searching for hope. What were you saying? I'll be gone in the morning before you wake up. I'll be gone in the mornin

g before you wake up. He means that she won't see him. Yes, when there's no hope left he thinks what he could do. There's nothing to do. But... ...not seeing a man for what he is, idolizing him like a god... ...and then being mad at him... ...because he's not a god. Do you think that's fair? I wish I were the successful, charismatic actor you dreamed of. But I am not. I'm a simple man. And what's worse, I'd like to stay that way. Get me a doctor. That's enough. I want a private doctor. -Alright,

I'll get you a private one. But he has to come here. Pay attention to the boy, Sevda. Not caressing. Don't worry, I'll go get Samet. Without smiling. -I won't go there. -Alright, don't. You'll sit at home and I'll get him here. You remember what his mother did to me? OK then, we'll find someone else. Look... ...you shouldn't play so much with the blanket. You told me to open it. He tells to me. You open it but don't make angry gestures. But you told me to be angry. I never said "angry". At the

end where you kind of mumble that was better. Let's have it that way, as if you're talking to yourself. And you... you're holding this in your hand. these are things you're used to. That's no good, looks fake. The sarcasm at the beginning was better. And you shouldn't be so affected. Finish it like this "Don't worry, mom. I'll take you to a private doctor." And then finish the subject. -So that's how I get tricked. -Do it like that. Don't pay much attention to her. You have a guest here. Keep mu

mbling from the start. As if you're talking to yourself. Don't make rough moves. As if you're grumbling. Old women tend to be cranky. They like to harm those around them. Yes but don't make it too rough. Just grumble. Like you did towards the end. Just grumble on your own. -Just nicely. Yes, nicely. There's a stranger now and you may want to complain a bit. You want her to hear your complaints. -You're trying to draw attention. -So I'm complaining about him... and can't keep my mouth shut. Yes,

but slowly. Like you talking on your own. And you shouldn't pay much attention. You know what's going on. Say something like "Cover your knees, heat will do you good." Say it loud. He needs to shout because she's hard of hearing, right? You don't hear so well when you get older. Wait for a chance to turn towards Nihal. Turn towards her. She keeps grumbling and it's going to look like you're still worried about her. "Alright, mom. Don't worry. I'll take you here and there. Don't worry." "Don't wo

rry, mom." All the while looking at Nihal. -So you're looking at her... -"Don't worry, mom." "I won't let you down. We'll handle it, don't worry." Say these and then turn towards Nihal. Tea should be served by then. -Alright. We need something from real life, this doesn't look alive at all. Constant attention is very bad. Sit a bit away in the beginning. The blanket can stay here between you. Just get her to sit, don't cover her. -Alright. -You'll cover her when... ...she says "My knees hurt." S

ay "Keep them warm, it will do you good." Then cover them and say "You said they get better when warm." Let me see how you sit. -I just sit. -No, that's no good. Both feet should be up. Both of them, like this? -Like this? Better? -Stretch your legs out. So? I can sit like this. -That's more comfortable. Yes, and rub your knees. -Should my pants be visible? -No, that's not necessary. Rub your knees here. Let's go over the lines for this part. Postproduction in Germany. We will not have much time

. When I need colour-grading or something like that. And the effects. The sound editor maybe can come to Germany. He works with me and both sections I can go. And then when we finish the sound editing I can come completely to France for sound mixing. Okay, so I will discuss this. Thomas is sound editor. Bruno is mixer. Or another sound mixer, I don't mind. But someone good in the dialogue especially. Yeah, OK. ...or Turkish. As long as they're Turkish, Turkish and European is fine. As long as th

ey don't do only American films. Friday... on the 17th May. and they invite you on Saturday the 18th. -So come for two days. -Yes, I think. If they invite and if I will not do anything There has been a change there. "Mr Hamdi, don't misunderstand. I want to give you this money. Please take it. Let's sound more determined here. -Alright. Like... "Don't worry, there's no problem." You haven't seen his panic yet. Mr Hamdi, don't get me wrong. I'm not giving you charity. Not "Mr Hamdi, don't get ME

wrong." It's "Mr Hamdi, don't get it wrong." It's not about getting you wrong but the situation. Adding "me" there gets it in the wrong direction. "Mr Hamdi, don't get it wrong. I want to give this money to you. Please take it. It sounds like there is... like an explanation, right? She means "I'm not giving charity to you." "Don't get it wrong but I want to give this money to you." That could work too. You can use other words too as long as it doesn't go in the wrong direction. Yes. "Now, Mr Ham

di, don't get it wrong. I want to give this money to you." "How about if we use "please" there?" It's no alms, no charity, no loan. It has nothing to do with you. I could say "Mr Hamdi, please don't get it wrong... "Please, don't get me wrong but..." "Mr Hamdi, please don't get it wrong. I want to give this money to you." -"I want to give this money to you." -"I want to give this money to you." Put the stress on "give" not on "to you". "I want to give... I want to give this money to you." "...to

you. I want to give this money to you." "I want to give this money to you." "This is my decision. I want to give this money to you." Remember the feeling, don't bother with words as of now. You should have thought until now. But we're past that point. We shot many good things. "Now Mr Hamdi, look, don't get it wrong but I want to give this money to you. -Please take it. -He has added "Now" and "look". Something like that. As long as that feeling is there, say anything you want. "Yes, but... I d

on't understand. What is it for? "Why did you bring it to us?" There's a danger here. His pride could suddenly come up. "Don't worry, I don't want anything in return." "I don't expect you to pay it back. Think of it as help from a friend, and please accept it. I think this is the most important part. There's a sudden danger here. "Yes but, Mrs Nihal... what is it for? Why did you bring it to us?" Could he suddenly act proudly? We've come all this way. "Don't worry. I don't want anything in retur

n." This looks like this could hurt his pride more. What I said. It could go in that direction too. Which one should we do now? What should we work on? It can be... "Don't worry, Mr Hamdi. I don't want anything in return from you. I don't expect you to pay it back. Think of me as a friend... He has worries, he's puffing and sighing we could have an alternative for your looks. Like being annoyed. Just a little bit. -I brought all that money but he's not happy -He's not happy. -Asking "Why?" "What

for?" all that. You told me you lead a dog's life. Then take the money. There could be a feeling that you're slightly annoyed. Yes, ready. It's like the words are magical. They lead you from one feeling to another. As if it has been plotted out earlier and you join the performance and it directs you. This is magical. I've noticed this, not while reading the script but after we started to work on the set. This has been an incredible experience for me. It was enormous. When you see that you're be

ing listened to, you grow confidence. And I think could look elsewhere. I think you're locked in her eyes too much. Alright, alright. When we do it like that the meaning of your looks after the money could be more apparent. It will become stronger. -Alright. And also, a woman and you are in a dark room together. You could hesitate to look into her eyes. That should be there in general. Speak softer, in a lower voice. She speaks like whisper. How about if she pulls you in that direction with her

style? -To a softer world. -Alright, alright. Begin to enter that magical ambience. Please take this and accept it. What is this? Open it. What is this, Mrs Nihal? Please don't misunderstand. I want to give you this money. Please, take it. Yes, but... I don't understand. I mean what is it for? Why did you bring it to us? Action. Welcome. Thanks. Sorry for disturbing you so late. Not at all. Mrs Nihal is Mr Aydin's wife, our landlord. Now look, here. You could act less drunk. Don't let us perceiv

e it that much. Because you are a professional. You are able to disguise it. -Only he understands. -Alright. You said "Welcome." And he says "I know. They just told me." After saying "I know. They just told me." you see the money. When you see the money walk, all the while looking at the money and then turn your looks suddenly to... to Hamdi. -"What's up?" Then you get up and act determined to make him sit. You're trying to get things in control. Just be like that suddenly. You experience such t

hings a lot. He is always drunk. You're like... You deal with the children. Start acting suddenly like the head of the family. You take care of the house, his kid, his wife... ...your mother too. You should have the upper hand. Ismail. Sit down over here. Go on. -Be stronger, more determined. -Yes, more like big brother. -Like you're his big brother. -I am the big brother anymore. -Yes -Fine. OK. And there's Nihal. You feel something for her. If I act more humble I'll lose the money. Not the mon

ey, but for Nihal you can slightly try to show off your courage. Welcome. Thank you. -Sorry for disturbing you so late. -Not at all. Mrs Nihal is Mr Aydin's wife, our landlord. I know. They just told me. What's up? Ismail, why don't you come and sit down? Come, have a seat. Mrs Nihal was worried about Ilyas. She came to wish him good health. That's why she came. But all this money... ...isn't it a bit too much? On what basis? What made you think of this much? - Look, I didn't think anything. - S

orry. I apologize. He's surprised, too. Ismail, why not go and wash your face or something? No need. Then I'll get you a coffee. You better have one. Mrs Nihal, let me get you another tea. Hamdi has a very thick borderline between sauciness and quietness. But each time he has to stay at a different side of that line. Otherwise we can't get out the story as we like. Therefore Hamdi was like walking on a razor's edge. And I had to trust the person I worked with. I had never trusted this much befor

e. Ismail, why not go and wash your face or something? No need. Then I'll get you a coffee. You better have one. Mrs Nihal, let me get you another tea. Don't bother. It's finished. The movie is finished as of this moment. We shot the last scene. We started in winter and finished in summer. We worked in snow, rain, gales, cold. Nevşehir was very cold. I remember well, one morning that morning I felt like I was being sliced up. Now it's summer and I can walk around in shirts. We're going to forget

all this fatigue. These three months, tiredness, late working hours, the cold snow, winter, they'll all be forgotten. Only the movie will remain. That's what matters. Making-of Shootings