Discussion on Acting and Directing Techniques

You've been to Saudi Arabia before, right?

Yes, Mom, I've been working here for five years.

Yeah, great, so you know everything.

Yes, I know everything, Hajar. Thank God.

Thank God. Now let's see how you'll take us, bring us back, and drive us around.

No problem, Mom.

God willing, there won't be a problem, Lord.

Oh, there's the car.

This scene got us six million.

What did God decree for this scene?

First of all, I don't know about editing because he needs to understand that

Asaad is an actor, not a director. The director is the one accountable for that.

The director is the one staring. You say it.

Okay, say, "There is no god but God." You understand.

I understand.

I'm having him walk in front of me now.

So you don't know.

Yeah, I do.

It's good that in the scene, you're leaning over.

Yeah.

No, I'm not leaning over.

No, no, you are leaning over.

Leaning over. Look, Abu Mohammed. The shot now, when the camera is

focused. This is the camera, not Asaad.

Yeah, right.

Yeah, I mean, when the director brings in the cameraman, he brings him in from

Asaad's perspective.

Yeah, right.

Right or not? But my gaze is on the ground when you notice it, on the ground.

The zoom in the directing and editing was aimed at

it.

Yes, at the place where…

The shot, yes, you can see it. But trust me completely, Abu

Mohammed. I had absolutely nothing to do with this scene.

That I would deliberately look at it later, you…

Brother, look. What are you looking at in this scene? Who are you trying to fool?

Look, man.

No, man. You look. You're looking at this.

There is no power or strength except through God. Don't pin it on Khal Shagra.

No, we're not pinning it on Khal Shagra. But you're pretending that you—damn you.

No, no, no, no.

He's brought in and telling you, "That's all."

Abu Mohammed. Mohammed, you know the director is the one who decides.

I know, the director is the one who decides, and the camera.

Look now. Look, my gaze is on the ground. Look, look at the director's shot. This is the director's shot.

Yes, okay.

This is what the director was…

I mean, he had set up.

You didn't know he was going to do that.

No, I didn't know about it, Abu Mohammed. May God hold me accountable for this.

Really?

I swear I didn't know about it. You need to understand what this is about.

No, don't jump to conclusions. Whoever says this is some scene or whatever, that's me.

I'm an artist, I come to perform. I mean, Nasser Al-Qasabi yesterday, when...

When he played a drunkard, was he a drunkard or not?

Nasser plays a drunkard. He's an artist. An actor.

Okay.

I'm an actor. I played the role of an Indian who, you know...

I mean, excuse me, with all due respect, even if this happened, we don't have people like

this.

You deny what exists. That solves our problem with you.

I deny that this was how I looked here.

Abu Mohammed, understand this. Where did this cameraman and director put the

zoom?

Yes, you.

While you're acting, you lower your gaze.

No, it's not about lowering my gaze.

I'm trying it out.

No, no, no, no, it's not about lowering my gaze.

This scene was agreed upon as this type of driver.

I mean, I'm trying it out.

We agreed that he would look at the woman as she walked,

but not with the focus the director gave it.

The director is the one who focused the zoom. But you thought that I would be happier,

or that... that my intention was to please someone this way.

God, as long as He knows what's in the heart, that's it.

Deeds are judged by intentions.

That's it. God knows my intention.