Exclusively,AliCherkaouiistalkingtousfromtheshoot,intheTunisiandesertofAnthonyWaller's=ilm"NineMilesDown"withAdrianPaul,NickNolteandKateNauta...Healsotalkingtousabout"BenjaminGates2"whichhasjustbeenreleasedincinemasandthe=ilmcurrentlyinpost-production,"TheHappening"directedbyM.NightShyamalan

Firstofall,whatistheworkofanassistantdirector?

Thatverytermof“AssistantDirector“canbemisleading...Fortheneophyte,thiscanbeconfusingandsuggeststhatheisakindof“director-to-be“or“personalassistanttothedirector“…Infact,theFirstAssistantDirectorisoneoftheproductionexecutivesservingtheBilmasitisenvisionedbythedirector(andnot-nuance-atthepersonalserviceofthedirector).

HismainmissionistocompletelyrelievehimfromtheentireorganizationofBilmingandcoordinationsothathecandedicatehimselfcompletelytothe‘mise-en-scene‘ofhisBilm.(NottobeconfusedwiththelogisticsoftheBilm:managementofthesets,basecamps,meals,travel,crewtransport&accommodation...etc...whichareundertheresponsibilityoflocationsandproductiondepartments)

Itisthereforeajobthatstarts,ingeneral,atleastontheBirstdayofpreparationoftheBilmandendsonthelastdayofBilming.

TheBirstassistant-director’sBirstmissionistogenerateascriptbreakdownandashootingschedule.

ThescriptbreakdownisatranslationoftheartisticelementsofthescreenplayintechnicalresourcesandspeciBicdemandsforeachdepartment(artdepartment,props,costumes,camera,stunts,picturevehicles,specialeffects...etc...)

Onceestablished,itispossibletogenerateallsortsoflistsanddocumentsallowingagoodfollowupoftheBilmpreparation:castlists,bitslist(forcasting),setslist(tofollowupthelocationscoutingprocess),breakdownsdetailingtheextrasforeachscene,picturevehicles,specialeffects...etc...Allthisisthengroupedinasortofbigbiblecalled“TheGeneralBreakdown"oftheBilm("ScriptBreakdown"inEnglish).

Onanotherside,theshootingscheduleisakindoflargeprojectedplanningoftheBilmshoot.TheBirstassistantdirector'smissionistoestimatefromascreenplay,thetimerequiredtoshoottheBilmandtoorganizeshootdaysaccordingtothemainparameters:groupingsofthesets&locations,castmembers,dayshoot,nightshootthensecondaryparametersthatarespeciBictotheBilm:asforexample,certaintechnicalrequirements,specialeffects,stunts,etc...

Thiscanbecomearealheadachewhenoppositeparameterscomeintoplayandyouhavetobearmedwithgreatqualitiesofpatience,logicandreBlectiontogettolookatthingsclearlyatsometimesandtoissuea“compromise“shootingschedule.

Fromtheverybeginningofthepreparation,theFirstAssistantoverseesandsupervisestheresearchoftheBilmsets(‘locationsscouting'),evenifthistaskismoreandmoreentrustedtoprofessionalscoutsandhecanbeincharge,onsomeBilms,ofexecutingorsupervisingthecastingofsmallparts,silentbits...ThemaincastingprocesshasbeenforseveralyearsnowentrustedtotheArtisticDistributionManagers,commonlynamed:CastingDirectors.

Duringtheshoot,itistheFirstAssistantDirectorwhosupervisesthetechnicalandartisticteamoftheBilmandcoordinatestheworkofthedifferentdepartmentsonset.HehastomakesurethattherightinformationBlowsandcoordinationisworkingoutbetweendepartmentsforasuccessfulshotorscene...

Asperhisposition,heisalsoendsupplayingtheroleofa“tightropewalker“betweentheartisticdemandsofthedirectorandthebudgetlimitationsoftheBilmandmustoftenproposepracticalalternatives.Asanexample:Adialoguescenebetweentwocharactersarrivingbytrain...TheBinancialconsequencesarenotthesameifthesceneishappeningonthestationplatformwithanarrival,oncamera,ofatrainandactorscomingdownfromthesametrainastheyaretalking(here:itwouldbenecessarytorent"atrain"forthescene)orinthecentralhallofthestationwithseveralhundredsextrasorinasimplerway:outsidethestation(wherewecould,maybe,getawaywithit,usingafewdozenextrasandafewpicturevehicles)…

TheFirstAD,inline,withtheproducerandthebudgetlimitationsoftheBilm,mustalsobeabletoproposealternativesandaskthedirectorabouthisartisticprioritiessothathecanchoosewhatismostimportantforhis‘mise-en-scene’.

Inshort,givehimallcardsinhandtobeabletoarbitrateachoicewithBinancialconsequences...(Thismoneyspent,thereinoneday,wouldnotbemoreusefulelsewhere?additionalBilminggearoranadditionaldayofshoot….ormoreextrasthisonthisorthatday?)

“IthinkI'mveryluckytomakealivingoutofajobthatallowsmetoliveasmanydifferentlivesinonesamehumanlife…“

The1stADdoesnotworkalone,ofcourse.HeisassistedinhistaskbyoneormoreSecondAssistant(s)andThirdAssistant(s)and/orTraineesdependingonthesizeorcomplexityoftheBilm…AttimeswhenBilmingtakesplaceinseveralcountriesorincludesextremelylargebackgroundscenes,forexample,theassistantdirectorsteamcouldincludemorethanadozenpeople...

Youhaveworkedongreatmasterpiecesofworldcinema:Kundun,Munich,BlackHawkDown,Gladiator,TheMummy,Alexander,whatdidthisbringyouintermsofexperienceandpersonalful>illment?

Theseareverydifferentadventuresandeachofthemhasbeenextremelyrewarding.FirstformeetingwithgreatBilmpersonalities:MartinScorsese,StevenSpielberg,RidleyScott,OliverStone...

ThenbecauseeachoneoftheseBilmshasimmersedme,forseveralmonthsintoauniverse,aworldthatIwouldnothavehadthechancetoapproachotherwise.

IthinkI'mveryluckytomakealivingoutofajobthatallowsmetoliveasmanydifferentlivesinonesamehumanlife…

Imagine:youdivein,5monthsintheworldofTibetfromthe1920stothe1960sfollowingthelifeoftheDalaiLama,thenyouliveseveralweeksinthemiddleofthegladiatorbattlesofAncientRometoBindyourselfonedayinthemiddleofthecivilwarinSomaliain1993inthemiddleofSomalisnipersonrooftopsandUSelitetroopscomingdownfromhelicopters,fast-ropingwhileotherhelicoptersBlyoverthebuildingrooftopsatlow-rise…

Attimesinthemidstofalltheworkloadandresponsibilities,Isometimesexperiencegreatmomentsofmagicandfeellikeaneternalbigchild.

ButpersonalfulBillmentalsocomesfromsmallBilms,smallhumanexperiencesinnewcountries,peoplesandculturesthatwediscoverandnotnecessarilynecessarilyonbigbudgetmachineswithgreatdirectors.

Alittleoverayearago,Ifoundmyself,fromdaytoday,inasmalltowninthecenteroftheEx-YugoslavRepublicofMacedonia,betweenKosovotothenorth,AlbaniatotheWestandBulgariatotheEast.BeforelandinginSkopje,IhaveconfessthatIbarelyhadtimetolookatwherethiscountrywasonthemap...AndalthoughtheBilmwasmadewithsmallresources,quitespartanaccommodationanddifBicultworkingconditions,Ihaveexperiencedthereoneofthemostbeautifulandrewardingexperiencesofmycareer.

IfoundmyselfinthemiddleofamultinationalteamwithBelgians,French,Persian,Macedonian,Slovenian,Albanian,Bulgarianpeople…

ThisBilm("IamfromTitovVeles"byTeonaMitevska)remainstothisdayoneofmymostmovinghumanexperiences.Ittaughtmethehumilityandrespect,weshouldhavewhenarrivingfromwesternornortherneuropeancountries,havingtodealwithlocalcrewsthatcouldbelessexperiencedinsomepositionsandwhenweneedtoBindsolutionstogethertomaketheBilmsuccessful...OurworkinglanguagewasEnglish,butthemoviewasshotinMacedonian,IpromisedmyselfwhenIarrivedtolearn300wordsinthislanguageinorderformetobeabletomanagethesetandextraswithoutbeingconsideredasakindofconquerorfromtheWest...

Andintermsofrelationships?

EachBilmisanestBilledwithnewencountersthatoftengeneratefutureprojects:asortofinBinite,interminablechainaslongasweremainactiveinthebusiness.

MartinScorsese'sKundun,whichwasmyBirstfeatureBilm,wasrichinBirstcontactsthatallowedmetobuildaBirstnetworkofconnections.

AndifIwasabletoworkonStevenSpielberg's"Munich"almost9yearslater,itisthankstoachainofpeoplethatIhavemetsince1996andwhohaveputmeintouchwithotherpeoplewhoeventuallycalledmein,9yearslaterfortheshootinginFranceof"Munich".

Forthemovie"NineMilesDown"thatIamcurrentlyshootingintheTunisiandesert,Iwasputintouchwiththedirectorbythecinematographer:RogerSimonszwithwhomI

haveworkedon"SexandtheCity"in2003.ThenwhoImetagainon"TheDevilwearsPrada"in2005orlastSeptemberinParisonM.NightShyamalan’sBilm.

Weworkwithpeople,welosesightofthem,wemeetthemagainoneday.Weexchangeourtips,ourcontacts,ourinfosontheprojectsandonedayortheotherthephoneringstotellyouthatyouaretravellingtotheothersideoftheworld,lessthan48hourslater.

Inthisbusinessevenaminorencounterisimportant.IthashappenedtometowonderwhyIwasonsuchachaoticanddifBicultBilm,andtounderstandafterthatitwassimplytomeetthisorthatperson.AndeveniftheBilmingitselfmayhavebeenunpleasantorbroughtnothingconcretetome,theencountersmadeduringtheprojectgeneratesalargesourceofnewrelationships.

Whichdirectorhasimpressedyouthemost?

ProbablyMartinScorseseon"Kundun".FirstbecauseIfoundmyselfina"Golden"positionattheverybeginningofmycareer.

IhadfoughttotrytogetajobonthisBilm,amongtheassistantdirectorsteam,“squatting“duringseveraldaystheOuarzazateStudios.AndthankgodIfailedbecauseIwouldhavegottenapositionoftraineeassistantdirector,severaldozenmetersfromthegreatmaster.Returningempty-handedtoCasablanca,IendedupbeingcalledbytheItalianproducerwhoofferedmetobeinchargeofthevideoplaybacksystemforMr.Scorsesehimself.Icouldnotdreamanybetter...

OnmyBirstfeatureBilm,freshlyoutofBilmschool,IhadthechancetoBindmyselfsitting3metersbehindScorsese,fornearly18weeks.Iwasoneof3or4rareprivilegedpeopletoseehim,work,hearhimcommentanddiscusstheshotswithhiscinematographer,hisBirstassistantdirectororhisscriptsupervisor...SuchanencounterandexperiencemarksyouforeveranditisverydifBiculttoforgetit,even11yearsafter...

Anditwasarealpleasuretoseehimworking,talkingabouthisshots,hisintentions,hispastBilmsandthecinemaingeneral:areal,privateandprivileged,cinemalesson.

Youhavealsoworkedonforeignproductions.DopeopleworkthesamewayinMorocco?

Theworkingmethodsaregenerallythesame.Whatchangesaretheproductionmeans...Workingonlargeproductionsteachesyouhowtohandlelargernumbersofextras,picturevehicles,ahighernumberofBilmtechnicians,whichforceyoutobeveryorganized.Becausetheslightestmistakecanbecomeseriousorcostly,asitcanbequicklyde-multipliedbythescaleoftheBilm.Tobesincere,whatsometimeslacksinMoroccoisthepermanent,systematicrigor.Itcanbenecessary,sometimes,toputalotmoreenergyandarmoneselfwithtenacitytofollowupwiththingstonotleavetheminaworldofApproximationsorInsh’Allah.

CinemaandBilmmakingrequiresprecisionworkandtheslightestnegligencecanhavedisastrousBinancialconsequences;carelessnessandfatalismdonotbelongtothatplace.

Andthereisoneelementonwhichwecannotaffordtolackrigor:thecreworcastsafetyonset:fromthesmalleststuntactionorcardrivingbytothebiggestBilmscenewithexplosions,weaponsorhelicoptersBlyingover...

Somehowyouarethemainsupervisoronset?

That'sright.Inorderforthedirectortodevotehimselffullytohismise-en-scene,withouthavingtoworryaboutorganizationalorpracticalproblems...

The1stADisthereforeoneofthecentralpiecesonset.HeistheonewhocoordinatesthenecessaryelementsrequiredfortheBilmingofashot,ascene,hewhosupervisesthecrew,givestheliferhythmoftheshoot.Itishewhomakessurepeoplerespectthesilenceonset,callsoutthe“Roll“wheneverybodyisreadytoturnoverandthesafetyconditionsaremet.ItishewhomanagesthetrafBicontheset(whoshouldinterveneonthisorthat?when?)whileconstantlymonitoringhiswatchinorderto,dayafterday,shootwhathasbeenplannedontheproductionschedule.

Oneoftheessentialqualitiesrequiredfora1stAssistantDirectorishisabilitytoanticipateandplanaheadtherequirementsofthenextshot,thenextscene,thenextday...etc...

Anticipate,anticipateagain,alwaysanticipatetherequirementsofadayorascenelongtimebeforeshootingit.Tomakesurethatthenecessarymeansforitsrealizationarepresentandfunctionperfectlyatthekeymoment,whilehavingforeseenalternativesolutionsifsomeelementsgowrong(whatRalphSingleton,greatAmerican1stADusedtocommonlycall,inEnglish:”CYA"(CoverYourAss.)

RalphSingleton,oneofAmerica'sleadingBirstassistantdirectors,whoworkedwithSydneyPollackon"ThreeDaysoftheCondor"orFrancisFordCoppolaon“TheConversation"quotesinoneofhisbooks“FilmScheduling“,3goldenrules:

1stRule:IfinDoubtAsk!2ndRule:

NeverAssumeAnything!3rdRule:

Alwayscoveryourself,Planalternativesolutions(AlwaysC.Y.A:CoveryourAss)

Aboveontheshootingofthe:ilmMarock,

Below,AliCherkaouiincompanyofNightShyamalan(wearingaredcap)inParis,attheTuileriesGarden.

Everydetailisimportant,andshouldnotbeneglected.Asimpleprop:aweapon,apen,acupoftea,aforgottenpicturevehicle,neglectedcouldcompromiseordelaythecompletionofashotandendupjeopardizingadayofBilmingwiththeBinancial

consequencesthatcanresult.AsaFirstAD,duringpreporBilming,Ihavetoprocesshundredsandhundredsofinformationsperday.Thenhavetoredistributethemtotherightpeopleandfollowupthegoodexecutionofthetasksofeachdepartment.

Withoutbeingasharpspecialistofeachcraft,itisnecessarytogloballyknowalltheBilmpositionsinordertotransmitinformationandsupervisetheworkofothertechnicians.NoneedtosaythatyouhavetoknowhowtoremaincalmandfocusedontheprioritieswithoutbeingdraggedbythemadnessandthestressthattheBilmingofascenecangenerates.

Beyondthiscentralpositiononset,Iamalsoinchargeofthemanagementandthemise-en-sceneofthebackgroundaction.ThedirectorisfocusingonthetechnicalrealizationoftheBilmandactorsdirection.The1stADsetsupanddirects,forhim,thebackgroundartists(theextras).Thedirectorcanthenfreely,ofcourse,adjustthedirectionofthebackgroundaction,byaskingthe1stADtocorrectcertainelements.

InEnglish,theExtrasareoftenrightlynamed:"Atmosphere"becauseitisoftenaboutrecreatinganatmosphere,anambiancebyestablishingthelifeofagivenplaceorahistoricalmoment,inthebackgroundofthemainstoryline.

Thebackgroundactionmust,withexceptions,servethestoryandbefeltsubtlywithoutvisuallytakingoverthemainnarrative.ButonsomeBilmsorwithcertaindirectors,thebackgroundactionisnotadetail,itmustbedirectedBinelyandveryprecisely(aswithM.NightShyamalan,duringtheBilmingof"TheHappening"inParis)

Youhavealsodeveloped,onlocationinMorocco,duringthe>ilmingofTheMummyacomputersystemtobettermanagetheextraslogisticsonthis>ilm.

"TheMummy"wasmyBirstrealBilmas2ndAssistant-Director...AndAhmedHatimi,(mymentorinthisbusinessandcertainlythegreatest1stassistantdirectorinMorocco,towhomIowealot)haddevelopedanexcellentworkingmethodwithcolorcodesandExceltables.Toavoiderrorsandproblems,whichwouldnotfailtohaveconsequencesontheshoot,hewantedtomanageandsupervisetheentirechainofprocessofthebackgroundactors:fromthecastingprocesstothepaymentofextras,goingthroughthelogisticsandtheirdirectiononset.HefoundhimselfoverloadedwithamassofworkonhisshouldersandIconfessthatIwasandIremainveryadmiringofhisabilitytobrilliantlysuperviseallthisonworkdaysoftenstartingat2.00amtoendat10.00or11.00pmthesameday!!!

Byjoininghisteam,Isimplytriedtointegratehismethodologyintoasingledatabaseprogram.Ispentdozensofsleeplessnightsinmyhotelroom,programmingonmycomputeruntiliconceivedacomputerdatabasesolutiontomanagethebackgroundmasses.FromoneBilmtotheother,withinourteam,Iwasabletoimprovethesystem,thankstothetechnicalresourcesthatweremadeavailabletomebytheproductions,byaddingabarcodesystemtoit.

Gradually,thesystembecameabletohandlepeaksofupto3,000extrasperdayofBilming.Itallowedto,veryquickly,checkineachextra,managetheirwardrobe,weapons

andpropsdistributionandtopaythem.Inpreparation,duringthecostumeBitting,wewouldissueeachpersonacontract,aplasticbadgebearinghisname,hischaracterandabarcodelinkinghimtothedatabase.Thisbadgewasalsocolorcoded,toquicklysortoutpeoplebasedonhowclosetheywouldbetocamera(foreground/background),theareasofthesetortheirpickupzone.

ThisITsolutionalsoallowedAmericanproducerstohaveaverypreciseinstantmanagementoftheextrasbudget(aHotExtras'Budget)andtohaveBlexibilityandreactivityinthedispatchofextrasnumbersonthesets.BecauseofmyactivityoutsideMorocco,Ihavenothadtheopportunitytouseitsince2003butAhmedHatimiandhisteamcontinuetouseitandimproveitBilmafterBilm.

ThismethodhasbecomewellknownandrecognizedsincethenandmanyAmericanproducersarriveinMoroccoandaskforitafterhavingheardaboutitinHollywoodbythepreviousteamswhohadshotthere.

Whathaschangedwiththeuseofcomputers?

Notsolongago,beforethearrivaloflaptops,theassistantdirectors,workedalmostexclusivelybyhand,pencil,paperandcoloredmarkersandboardsystemsandcardboardstripstoestablishandmanagetheshootingscheduleofamovie.Allthedocumentshadtobesenttotheproductionsecretary,whowasleftwithaconsiderableamountofwork.Andimagineforeachchange,thetimerequiredtochangethings,theriskoferror,datainput...etc.Today,thereareschedulingandbreakdownsoftware,powerfuldatabasesystems,storyboardsoftwarethatcanpre-visualizeashotorcameramovements,virtualproductionofBicesolutionsontheInternettoeffectivelyshareinformationneededforpreparation,calendars,documents...Arealrevolutionin10/15years...

Everythinghaschangedandcontinuestochange,andtostayinthebusiness,wemustgraduallyincorporatethenewpossibilitiesofferedbyITsolutions.Iam,personally,verykeenonnewtechnologiesandtrytotestandintegratethenewtools,aswego,inthepracticeofmyjob.IloveBindingsolutionstofacilitatethelivesandworkofassistantdirectorsandtechnicalcrewsingeneral.

Youalsoliveincloseproximityofthedirectorandtheproducers?

Yes,butthelevelofintimacydependsontheBilmsandthesimplicityofthedirectors…OnbigHollywoodproductions,therecanbearealdistance,generatedbythestar-systemthatcanreducetherelationshiptoasimpleandminimalworkrelationship.ItalsodependsontheamountofBilmsmadewiththesamedirector,becausetherelationshipsdevelop,deepbondsweavefrommovietomovie.OnsmallerBilms,human-sized,certainly.Wesharethelifeofadirector,weaccompanyhimfromweektoweekforhisBilmtocometolifefromahundredpagesofascreenplay,wesharehisdoubts,hisdifBiculties,thegreatcrisesbutalsothegreatmomentsofhappinesswhenascenewritteninaparagraph,magicallytakesplacebeforeoureyes.

YouareshootingintheTunisiandesert,howisyourworkgoing?

It'sadifBicultshoot.FirstbecauseIwascalledonaFridayeveningtooffermetoleavethenextMondaymorningfortheTunisiandesert.TheAmerican-Hungarian1stADwhosupervisedtheBirst3weeksonStageinBudapest,steppeddownandwasnotabletocovertheshoothere.Ihadtotakeover,withverylittleinformationandalmostnopreparation.Soitwashard,veryhard,atBirst.Becauseasa1stAD,youaresupposedtoknowalltheelementsoftheBilmbetterthananyoneelse.Here,IinheritedashootingscheduleandapreparationthatIhavenotaccomplishedbymyself.Itwasan“equilibrist“positionbutalsoakindofchallengetokeeptheBilmontracks.ThemachinewasrestartedandIwasabletocollecttheinformationsinordertomanagetheset.AndevenifIdiscoverthingsandhavesurprises,again,everyday,thankGod,sofarsogood.Wearestillontracksandonschedule.

OneofthebiggestandmostspectaculardayofthisBilmwasshotafewdaysagousing4camerasandwithtwohelicopters(aMilitaryHueyhelicopter,thatwasmadeavailabletousbytheTunisianarmyandaFrenchCivilianEurocopter“Ecureuil“Helicopter).Itisinsceneslikethisone,thatthe“centralcoordination“positionoftheFirstADcanplayitsfullrole.Wehadagreedonaveryprecisecodeandtimingin10-secondincrementsandbasedonthepositionofthehelicopters,orbitingaroundthederrick,inthesky.

ThecameraswouldturnoverwhentheMilitaryHelicopterwasat6o'clock,theFireandtheColumnofblacksmokeat9o'clockandBinallythelargechainofexplosionsat12o'clock.ArmedwithtricolorBlags(yellow,blue,red)andmywalkie-talkieandinlessthan60seconds,Ihadtocoordinatetheinformationwithbothhelicopters,calloutthe“Roll“,makesurethatthe4cameras(oneineachhelicopterandtwoontheground)are

turningoverbeforegivingthetwovisualcuestothespecialeffectssupervisortoBirststarttheBirethenthegiganticchainofexplosions.

Noneedtosaythattheadrenalinerushwasatitshighest,becausewecouldgoforonlyOneTake(theexplosiondestroyingcompletelyourmainBilmset)

Fortunatelyenough,everythingwassetlikeclockwork,thedesiredeffectwantedbythedirectorwasachievedandnobodywashurt.Insuchscenes,thesafetyofthetechnicalandartisticteamisatoppriority.Ifaspecialeffectorastuntcontainstheslightestsafetyrisk,thenwemustreviewtheprocedureandconsideralternativevisualortechnicalsolutions.BecausethereisnotonesingleBilmintheworld,thatdeservesthatacrewmemberoranactorgetshurtorrisklosinghislife.Theheadsofdepartmentsinvolved(SpecialEffects,StuntCoordinator,HelicopterPilots...)musttakeallthenecessarymeasuresandsafetydistancesandthe1stADistheretohaveacoldbloodedgeneralsupervisionandisnottostartBilmingashotthatcouldcompromisethesafetyofthepeopleonset.

Scenesfromthe:ilm“NineMilesDown“,inthemiddleoftheTunisiandesert.Exclusivelyfor16/9ème.WerecognizeAdrianPaulandKateNauta.

It'saninternationalproductionshotinTunisia,ifthe>ilmwastobeshotinMorocco,couldithavebeendoneunderthesameconditionsorusingthesameworkmethods?

Certainly,thesameworkmethods.However,theconditionswouldbedifferentfromonedepartmenttoanotherbecauseIthinkIcannowsaythatourskillsaredifferentandcomplementary.MoroccohasattractedsomeofthebiggestAmericanproductionsinrecentyearsandwithoutgeneralizing,IcansaythatthishasallowedtheMoroccanstotrainproduction,locationandassistantdirectorsteams,thatareverywelladaptedtomediumandlargeAmericanBilms.Buttheproductionandthelocationworkcannotbeeasilyimportedandexported.TheyarelocaltradesandBieldworkastheyareconnectedtotherelationshipwithlocalauthorities,localpopulationasmuchastheexperienceorthepracticalknowledgeofthisjobs.Traininginthesetradesmustbedoneontheground,inthemidstofprojectsarrivinginourcountries.Ontheotherhand,Iwasveryproudtohavediscovered,ahighlyqualiBiedTunisianartdepartmentteam,underthedirectionofagreatartdirector:KhaledJoulakandhiscrew...TheyaccomplishedarealexploitbybuildingascientiBicresearchcomplexandaDerrick(oilwell)inlessthan3weeks.KhaledhasalsohadtheopportunityofworkinginMoroccoonmanyBilms.Iwasalsoverypleasantlysurprisedbythequalityinmanytechnicaldepartment:Camera,Sound,Electricians,GripsandtheSpecialEffectsSupervisor(foralltheatmosphericandpyrotechniceffects)eveniftobehonest,Ihadimportantreservationsaboutthesafetyawarenessonset.

DoyouthinkthatbetweenMoroccoandTunisia,thereisacollaborationthatcouldbebene>icialforbothcountries?

Yescompletely.Thereisarealworktobedoneattheleveloftrainingandexchangesofskills.

WhynotwithotherMaghrebcountries?

Exchangesarehappeningnaturally,already,individuallybetweenBilms.OurGaffer(SkanderDhaoui)hasalsoworkedseveraltimesinMorocco.Attheendoftheshoot,ImetaTunisian1stAD(ElyesZrelli)whoworkedonAhmedBoulane'sBilminMoroccoandworkedonanIraqiBilminEgypt.OntheotherhandthecraftsmenandmembersofMoroccan"costume"teamsfromOuarzazateworkregularlyinTunisia.Collaborationexistsinfact,butonapunctual,individualbasis.IthinkthatitwouldbebeneBicialforbothcountries,andfortheMaghrebingeneral,topromoteexchangesofknowledgeandskillsinamoreorganizedway.IfhighlyqualiBiedHeadsofDepartmentsexistinTunisiaorMoroccowhynotexchangeourteamsincomplementarity.Butwestillmustovercomethelittlenationalismsthatareremaining.Istillhaveinmind,thebittermemory,twoyearsago,whileIwasabouttostartthepreparationofaFrenchBilminAlgeria,tohavereceivedarealVetofromthelocalAlgerianproduction,whorefusedthataMoroccan1stADsupervisesanAlgeriancrew.Ithashurtme,becauseIwas,onthecontrary,happytodiscoverandworkhandinhandwithanAlgeriancrewonlocation.

AndinMorocco,arewewellorganized?

Yes,andinanycase,wehavethecapacitytobewellorganized.ThesizeoftheBilmsthathavebeenshothere,hasmadeitpossibletotrainqualiBiedpeople,whetheritisintheproduction,direction,locations,artdepartment,costumes…AndagoodorganizationdoesnotalwaysrequireconsiderableBinancialresources:wecanbeorganizedwithsmallmeans.ButIknow,throughwhatihearfromsomeMoroccanBilmmakers,thatalotofBilmsaremadeinabigmesswherethedirectorBindshimselfpoorlysupported,orhastosortoutbyhimselfmanagementproblems,cateringortransportationissuesbetweentwoshots.Whatseemsinconceivabletome:wecanmakeBilmswithlittleresourceswhileremainingorganized.

YouhaveworkedalotinMoroccobutyouliveinFrance,whythischoice?

Icannotreallytalkaboutitasaconsciouschoice.IarrivedinFrancewithoutknowingthatIwillstaytherethatlong.Ihavelearnedthebasicsofthisjob,tookmyBirststeps.TherichnessoftheParisianculturalandcinematographiclifehasbroughtmealot,andIhavebeenattachedtoit,eventhoughIamaCasablancacitizendeepinmysoul.Yearafteryear,IfoundmyselfspendingalmosthalfofmylifeinParis,withoutconsciouslymakingthischoice.Parissimply,andlittlebylittle,becameformeakindofprofessionalcenterofgravity,evenifIhavetoadmitthatIdonotexcludetoreturntoMorocco.Inanycase,IknowthatIliketolivebetweentwocountriesandtwocultures,IdrawapersonalfulBillmentandahindsightthatiamdeeplyattachedto.

DowehavethecinemainMoroccothatwedeserve?

Cinema,likeanyart,isareBlectionofsocietyandwhatseemsimportanttomeisthatMoroccancinemarepresentsMoroccansocietyinallitscomponentsandwithoutanytabooorself-censorshipfromthedirectors.Thetimeofcinematographicamnesiaofthe70sand80sisover,andBilmsmustspeaksincerelytoMoroccans,withouthypocrisy,telltheirstoriesinareallanguagewhilebeingopentotheworldandtrytobeuniversalbeyondourborders.Iwasreallyshockedthatsomedirectorsand“so-calledMoroccansintellectuals”,havehad,duringthereleaseoftheBilm‘Marock’,violentandveryhardwordsandapositionencouragingcensorshipandthedenying“themoroccancitzenship"ofitsdirector.

WhyisitonlyintheArabworldwhereweBind"intellectuals"or"frustratedartists"readytocampaignagainsttheirownfreedomtocreateortofreelyrepresentthesociety.It’saparadoxthatIstillcannotexplaintomyself.Unlessit'sbasedonlowleveljealousiesandrivalries(somehowitwouldreassuremetothinkit'sjustthat.)

Anyway,IamratheroptimisticfortheMoroccancinemabecauseitismoreandmoredynamicandcreative.IamproudtoseeBilmsatthelevelof“Marock“byLaïlaMarrakchiorFaouziBensaidi'sWhataWonderfulWorldforexample,andeventhoughthislastBilmmaynothavemetitsaudienceinMorocco,itisabigstepforwardforMoroccancinema.Andthereisroomforallgenres,alltypeofcinemainMorocco.Themostimportantthingisnottoforgetwhatmustuniteallcreators:theirfreedomtorepresentthesociety.

WhatistheretodoordoagaininMorocco?

Iwouldreallylikethatweseriouslytakecareofthetrainingsinallthetechnicaltradesofcinema.FillingthegapsofunderrepresentedpositionsinMorocco(Cinematographers,SoundMixers,ScriptSupervisors,SpecialEffects...etc..),conveythepassionofcertainBilmprofessions,generatevocationsandaccompanythem,encouragethem…Thisisforme,theonlywaytosustainnationalcinemaandalsothepresenceofforeignshootsinMoroccobyprovidingskilledcrewsinalldepartments.AndwemusttackleitBirst…DuringoneofmyBirstBilmshootsintheEasternEuropeancountries,onNapoleonin2001,itwastheBirstdifferencethatInoticedwhileshootinginPragueandBudapest:TheforeigncrewsdidnotarrivewithallheadsofdepartmentsimportedfromFranceortheUnitedStatesbutrelyonlocalteamsinallareas(whichwasalsoaBinancialadvantageforthem,withlessexpensivesalariesandfringes.)

Youjust>inished>ilmingM.NightShyamalan'smovie,"TheHappening".Tellusaboutthesecretsofthe>ilm.

TheBirstsceneoftheBilmtakesplacein"CentralPark"inNewYorkandNightShyamalanwantedthatthelastsequencetotakeplaceinParisatthe“TuileriesGarden“.AtBirstglance,thescenewassimple:Someatmospheres,parkambiances,thentwocharacters,walkintheparktalkingwhensuddenlyacryfromnowherefreezesthewholeparkand...Iwillnottellyoumore,becauseit'stheendofthemovie.

AscenewithahundredextrasinaParisianpark:atBirstsight,itisnotcomplicatedtoorganize,apartfromthelockoffinagardenthatremainedopentothepubliconaSaturdayinSeptember.AtBirstIwassurprisedbyrequestsforextremeprecisionrelayedfromhimbyhisproducers:SamMercerandBarryMendel.Wehadseverallongmeetingsaboutthesescenes,whereasusually,wetalkaboutthesekindofscenes10or15minonthephoneorbetweentwodiscussionsonothersequences.IlaterrealizedthatNightShyamalanwasaverydemandingdirectorwholovestoBinetunehisworkonthebackgroundscenes,alltheselittledetailsthatgivereality,subtletytothings.TheteamwasshootinginPhiladelphiathedaybefore.TheytraveledatnightandarrivedSaturdaymorninginaPrivateJet:Himself,hiscinematographer:TakFujimoto,hisproductiondesigner:JeannineOpewallandhisotherproducersthenjoinedthesetandtheFrenchcrewattheTuileries,directly:fromtheairportstraighttotheshoot.HeisrelentlessandIstoppedcountingalltheroundtripsbetweendifferentcamerassetfromoneendtotheothersideofthePark(whattheAmericanscalledLeapFrogging)becausewejuggledalldayfromonecornertotheotheroftheparkasperthenaturallight.Workingwithhim,eventhatbrieBly,wasarealpleasure.Iwasimpressed,Birstofallbyhiskindnessandaccessibility,hispatiencemixedwithhishighdemandofsubtlety.IhopetohavetheopportunityagaintoworkonanentireBilmwithhim.

MostrecentlyyouhaveworkedonBenjaminGates2alongsideJonTurteltaubandstarringNicolasCage.Whatrelationshipdoyouhavewiththeactors?

Itdependsonceagainonmovies.Hollywoodmoviesandthestar-system,createsadistancethatdoesnotalwaysfavorsimpleordirectrelationshipswithactors(often

surroundedbybodyguardsandseveralpersonalassistantswhoactasbarriers).Ontheset,itisofcourse(withsomenotableexceptions)thedirectorwhodirectsthem.Theassistantdirectorsteam,takescareofwelcomingthem,keepingtheminformedoftheorderofscenesorshots,supervisingwithproductionandfacilitiestheircomfortonset,givingthemcueswhenthescenerequiresit.Allthisendsupcreatingcloseandendearingrelationshipsinthelongrun.Inthebackgroundoftheshoot,2ndADsand/or3rdADsareresponsibleforfollowingaproperprep,make-up,hair,andcommunicationwiththeactors(andthisalsopromotesandinducesaprivilegedrelationshipwiththem),becauseitisnecessarytomanagetheirstress,tocomfortthem,toenduresometimescertainwhimsorangerswithoutnevertakingthingspersonally.

Youhavealsoworkedonthe>ilmMarock,howdidtheshootinggo?

Arealjoy.First,becauseshootinga"teenagemovie"inmyhometownofCasablancahasbeensomehow"rejuvenatingandrefreshing"formeandIthinkforthewholeBilmcrew.ButalsobecauseIknowLailaMarrakchiforover15yearsandIwasveryhappytoworkwithher.AlthoughIwasalittlenervousaboutworkingwithafriend,becauseourpersonalitiesarenotthesameinlifeandunderthepressureofBilmingandyouhavetoknowhowtostayfocusedandkeepthesamerigoranddemandasifyouwereworkingwithastranger.Anyway,ithasbeenarealpleasureworkingwithherandIknowandshealsoknowsthatIwillalwaysbeupforallherupcomingprojects.

AliCherkaouiincompanyofMartinScorsese

Toworkwithinternational>ilmdinosaurssuchasMartinScorsese,OliverStoneorStevenSpielberg,andtoalsoworkonLailaMarrakchi'sdebutfeature.Isitbene>icial?

Yesabsolutely.EachBilmbringsitsownfulBillment.AndMarockwasaverybeautifulexperienceandhumanadventure.SomeBilmsarehugeorganizationallessons,othersare“mise-en-scene“lessonsandothersarerichhumanexperiences,especiallyiftheytakeplaceinMorocco,inmyhometownandareworthasmuchasaBilmofMartinScorseseorRidleyScott.

Whatisthebestmemoryyoucanrecallfroma>ilmshoot?

ItisalwaysverydifBiculttochoose:welivemomentsthataresodifferentandsostrongthatnotonecanreallystandabovetheothers.

Istillthinkofthemagicalballetofthe8helicopterstakingofffromKenitraAirForceBaseatsunsetonBlackHawkDown.Orthemomentsofrealemotionwhenwehadtore-createasceneofthedepartureinexileoftheDalaiLamaforIndia:whenhundredsofTibetanextras,whohadalreadyexperiencedthesamescenein1959,begantosob:AllthetechnicalteamincludingMartinScorsesehimselfbegantocry,astheemotionwaspalpableandhardtoovercome:TherealityviolentlyjoiningtheBiction...

Andtheworst?

IhaveexperiencesomechaoticBilmshoots,wherewearesorelylackinginformationandwestillhavetomakesurethatalltheelementsarepresentfortheshoot.Tosolveequationswithseveralunknownparameters,withoutbeingabletoreadthesecondhalfoftheequation.WhatcanbeconceivedonsmallBilmswithtwoactorsinanapartment,canhardlybeimaginedwhenyouareshootinggiganticscenesinperiodcostumeswiththousandsofextras:theinformationisessentialforanefBicientandserenework.Itendsupreallytiringyouinthelongrunandmakeyourneuronsheatup.TheFourFeathersbyShekharKapurin2000andAlexanderbyOliverStonein2003were,forexample,twochaoticandunpleasantexperiencesforme.

Youareoftenjudgedfornotwantingtotaketheplunge:becomingadirector.Whatareyouafraidof?

IbelievethatthejobofAssistantDirectorisaprofessionandacareerinitsownright.AndOneshouldnotdothisjobifonefeelsasa"frustrateddirector",becauseotherwisehowtogivesomuchtime,energy,investmentandintensitytoadirectorifoneisfrustratedorembitteredorjusttransitioningtosomethingelse.

However,ImustadmitthatIstartedthiscareer,wronglybelievingatthetime,thatthispositionwasaroyalwaytowardsBilmdirection.InthemeantimeIhavediscoveredarealjob,thrilling,whichcertainlytookmeamomentawayfrommyambitions,butIdidnotgivethemupsofar.

DoyouimagineyourselfworkingmoreinMoroccothaninFrance?

Yes,itisimportanttome,atleastasmuchasinFrance.Besides,evenifIambasedinParis,IdonotreallyworkalotinFrance.Here,Ispecializedalittleininternationalandforeignproductions,oftenshotinEnglish.IoftenBindmyselfBilmingelsewhereinEasternEurope,inDubaiorinTunisiasuchasnow.Infact,Iseemyselfworkingwheretherearebeautifulexperiencestolive,whateverthecountryis.

WealsoknowthatyouareinvolvedinAFAR,theFrenchAssociationofAssistantDirectors,whichisalsocelebratingits10thanniversarythisyear.YouareitsVice-SecretaryGeneral.Youneverstop?

Iwasinvitedtojointhea.f.a.ratthebeginningof2001.Atthetime,theassociationcountedonlyaboutBifteenmembers.Todayithasnearlyahundred.In2002,IbeganbytakingcareofthewebsiteandwebtoolsoftheassociationbysettingupasystemallowingmemberstomanagetheirCVsandavailabilitiesdirectlyontheinternet.

Andsince2004,Ijoinedtheboardmembersandthecounciloftheassociationtobecome:Vice-SecretaryGeneral,toparticipatemoreconcretelyinthefunctioningandthefutureprojectsoftheassociation.ButIwouldlovetoparticipateandbringthesameenergytothelaunchofequivalentstructuresinMorocco.Imaybeutopian,butwhynotcreatetheequivalentofthisassociationbygroupingtheDirectionpositionsof(Assistants-Directors,ScriptSupervisors...)attheMoroccanorattheMaghrebleveltopromoteexchangesoftechnicians,sharingofexperiences,trainingoffutureassistantdirectors.

Whatisthepurposeoftheassociation?

ItismainlytobreaktheisolationinwhichtheassistantdirectorcanoftenbewhenfacingproductionsandBilmcrews.Todefendtheinterestofthisprofession,whileguaranteeingtheproductionsahighqualityofworkonsetsandtherespectofatruedeontologyinthistrade.

Italsoservesasaplatformforexchangewiththeoutsideworld:withDirectors,Producers,Traineeswhostartinthebusinessaswellasinternally:bypromotingthesharingofknowledgeandexperiencesbetweenmembers.

OurtwoBlagshipprojectsare:TrainingandSafetyonBilmsets.

FormoreinformationonAliCherkaoui:

www.alitronics.com

SELECTED FILMOGRAPHY FOR ALI CHERKAOUI

1994 SOLOMON AND SHEBA I 1996 LALLA HOBBY. KUNDUN I 1997 LEGIONNAIRE I 1998 THE MUMMY I 1999 GLADIATOR.RULES OF ENGAGEMENT. ARABIAN NIGHTS I 2000 THE FOUR FEATHERS I 2001 SPY GAME. BLACK HAWK DOWN .NAPOLEON I 2002/2003 DANNY THE DOG I 2003 THE DIVORCE.ALEXANDER I 2004 SEX IN THE CITY MAROCK.TENERIFE I 2005 PARIS JE T’AIME.MUNICH. THE DEVIL WEARS PRADA I 2006 I AM FROM TITOV VELES I 2007 ENTOURAGE.NATIONAL TREASURE 2.THE HAPPENING I 2008 NINE MILES DOWN I