Amir Zargara: Challenges include funding and casting; inspired by Navid
What are the most formidable challenges inherent to the profession of filmmaking?
For my short film, A GOOD DAY WILL COME, after securing funding—a significant hurdle—the two biggest obstacles were finding a location that could convincingly represent Iran and casting the lead role. We explored six countries—Greece, Georgia, Turkey, Jordan, Morocco, and Italy—all previously used to depict Iran. Each option involved extensive negotiations and budget assessments. Our ambitious script strained our modest budget, but a connection with a filmmaker friend in Iran introduced us to Iman in Turkey. He helped adapt the script to fit our budget, allowing us to proceed despite financial constraints. Casting the lead was equally challenging. We needed an actor outside Iran, fluent in Farsi, with a wrestler’s physique and existing martial arts training, willing to face potential repercussions. Discovering Sia Alipour was miraculous; he met all criteria and brought his own team, including a wrestling coach and action designer. His dedication was essential to realizing my vision.
Could you elaborate on the wellspring of your creative inspiration for this particular short film?
The creative inspiration for my short film, A GOOD DAY WILL COME, stems from the tragic story of Navid Afkari, executed by the Iranian regime in 2020. Initially, I hesitated to tell his story due to its weight and potential backlash, especially since it involves my own people. After years of hoping someone more established would take on the project, I realized I needed to use the opportunities I had in Canada to preserve Navid’s memory. I first approached the story as a docu-drama, but it lacked emotional depth. A breakthrough came one winter night while listening to Hichkas’ song “A Good Day Will Come,” which sparked a vivid image of a protester facing gunfire. This inspired a new script direction that captured Iran’s emotional and socio-political complexities. Within a week, I had a draft that evolved into the film, blending personal passion with creative expression to honor Navid’s legacy and highlight broader issues in Iran.
Could you elucidate on the central thematic underpinning of your film?
The central theme of my film, A GOOD DAY WILL COME, is honor and the moral dilemmas it entails. The protagonist is torn between staying silent under an oppressive regime or making a stand, risking his safety. This internal struggle is deepened by the tragic loss of his cousin, Mitra, who died in a deadly protest, reinforcing his sense of duty and honor. Wrestling serves as a powerful metaphor for honor in the narrative, symbolizing discipline, respect, and integrity. The physical and mental challenges of wrestling reflect his relentless battle against the regime and his personal fears. Through this, the film explores honor in both personal sacrifice and the fight for justice. Ultimately, A GOOD DAY WILL COME celebrates the enduring human spirit and the unwavering commitment to honor, highlighting the difficult choices and sacrifices necessary to stand up for what is right.
How do you navigate the task of strategizing cost-effective promotional efforts when operating within a constrained budget?
Navigating cost-effective promotional efforts on a constrained budget is undoubtedly challenging, as many filmmakers, including myself, prioritize allocating the majority of funds to production to ensure the project’s quality. To address this, I adopt a strategic and resourceful approach. I reach out to individuals, organizations, and film festivals, transparently explaining our financial situation and seeking their support in any capacity they can offer. This might include in-kind contributions such as promotional services, access to their networks, or collaboration opportunities. While this method involves reaching out to a large number of contacts—perhaps messaging 100 people and receiving assistance from about five—it gradually builds a supportive network that enhances our promotional reach without significant financial expenditure.
In today's dynamic marketplace, how pivotal do you consider the role of film distribution?
Film distribution is crucial in today’s market. Without effective distribution, even the best films remain unseen. I prioritize a multi-tier distribution system to ensure our film is accessible across various platforms, maximizing audience reach and ensuring that our story reaches viewers wherever they are. As for A GOOD DAY WILL COME, it’s still doing festivals, so it won’t be available to the masses for another 6-8 months most likely.
For individuals contemplating the path of self-distribution, what counsel or insights can you offer?
Self-distribution has its pros and cons. It demands significant time and involves plenty of trial and error, but if it’s your only option, embrace it. You’ll gain valuable experience, improve your skills, and learn lessons that benefit future projects. Persistence and adaptability are essential for success.
In your estimation, what level of significance do short films hold for aspiring filmmakers seeking to embark on a career in directing?
I believe short films are extremely important for aspiring directors. They provide essential experience, allowing filmmakers to hone their skills, experiment with storytelling techniques, and build a portfolio. Creating short films serves as a crucial stepping stone, paving the way to larger projects by demonstrating your vision and capability. For me, making “A GOOD DAY WILL COME” has been instrumental in preparing to develop the feature film version, helping me establish a foundation and gain the confidence needed to tackle more ambitious endeavors.
Reflecting on your professional journey thus far, could you share an instance of the most formidable challenge you encountered and how you surmounted it?
One of the most formidable challenges in my filmmaking journey was tackling the protest scene in “A GOOD DAY WILL COME.” From the outset, this scene was particularly demanding due to its emotional intensity and logistical complexity. Pre-production required meticulous planning to ensure authenticity, including coordinating with department heads and managing resources effectively. We had to create a realistic portrayal of a protest that would resonate deeply with the audience. Despite the initial fears, the execution turned out smoother than expected, and we successfully finished the day on time. This success was largely thanks to the dedicated collaboration of our entire team. Every department— from cast and crew to extras—worked in perfect harmony, functioning as a cohesive unit to bring this pivotal scene to life. Their commitment and teamwork were instrumental in overcoming the challenges, and I am immensely grateful for their unwavering support and professionalism.
What, in your view, are the critical factors that contribute to the creation of a cinematic masterpiece?
In my view, the most critical factor in creating a cinematic masterpiece is the script. Investing ample time in developing and refining the script is essential, as it forms the foundation of the entire film. A well-crafted script enables strong storytelling, compelling characters, and engaging dialogue. Additionally, seeking objective, professional feedback ensures the script’s quality and effectiveness. As the saying goes, you can make a bad film from a good script, but it’s much harder to create a good film from a bad script.
If you could revisit the inception of your career, are there any aspects or decisions you would choose to alter in hindsight?
If I could revisit the start of my career, I would approach my first short film, “BECOME THE WOUNDED,” more strategically. I took significant creative risks that, while enriching my experience, may have limited its reception at film festivals. In hindsight, adopting a more traditional narrative and keeping the film under 15 minutes would have made it easier for festivals to program and increased its chances of success. This approach could have propelled my career forward more quickly by enhancing visibility and attracting more opportunities early on.
kaaffilm
KAAFFILM is an international network of distribution, production, and promotion of short films. #Kaaffilm
Leave a comment