An interview with Bijan Daneshmand, Star of 20 Fingers and Director of A Snake’s Tail
When the late Edward Said described the post revolution Iranian cinema as ‘the most extraordinary artistic and social adventures of our time’ it was not an understatement. Iranian films have gone on to claim thousands of awards internationally, been the subject of many books, and some Iranian film directors have been heralded as the pioneers of a global modern cinema. Also, in the last couple of years, we have seen an emergence of Iranian Diaspora cinema in the west. Directors like Susan Taslimi (Sweden), Reza Parsar (Sweden) and Ramin Bahrani (US) have made refreshingly hybridised cinema that is built on the tension of living in between nations.
I think it is safe to say that Bijan Daneshmand is the first London based Iranian Diaspora filmmaker (although when I suggested this he was quick to show his modesty and think nothing of it). Bijan has had a remarkable two years. In 2004 he produced and co-starred in 20 Fingers directed by Mania Akbari (from Kiarostami’s Ten). The film was nominated for many prizes, and won the best film at the Venezia film festival; as well as being picked for Channel 4’s Iran season. In 2005 Bijan wrote and directed his first feature A Snakes Tail, which went on to win the best International film at The Bare Bones Film Festival, as well as being shown in many more including Lisbon Village festival and Cannes, in which he plays three roles.
The film tells the story of Bijan meeting Manu in a café to tell him the story of Kami, an anglo-Iranian man, who struggles to find an inner balance after the death of his father. Kami meets Agha, a Mullah (Muslim Priest), who introduces him to the poetry of Rumi and opium. Kami, obviously trying to cope with the grief of losing a father, is attracted to the relief the opium gives, and as a result starts to become addicted. Kami realises his addiction and through the experience of giving up the opium and coming to terms with what had happened, he finds a new inner balance.
What was it like working with Mania Akbari in 20 Fingers?
Working with Mania Akbari was a great experience, I think for both of us. It is very challenging for the director and the producer to work together so closely- as the two actors, or basically the only two actors really, in this film there were the two of us. I think we could react well with one another. There were times of high tension before we shot a scene, arguments, fights, discussions would take place, and once we agreed as to how to go about it- we did it.
Mania is highly creative and very talented, and it was great working with her. It is envisaged that we will be working together again, we shall see.
What is your opinion on Contemporary Iranian Cinema, and where do you see yourself in relation to it?
I watch contemporary Iranian cinema, and enjoy watching it, I think not as entertainment as we usually refer to, but as something more contemplative/ reflective/ searching. It is enjoyable. Iranian films are neither action packed nor very thrilling. Their pace is different to films from the West. Sometimes you might fall asleep, that’s ok, but it’s when you want to leave the cinema, that’s different and you don't want to do that. That's why you might have a nap but stay and watch the film to the end. Iranian films mostly debate life, humanity, feelings and tend to have layers. In Iran when we talk we tend to go on, to see other meanings, when we tell stories we look at it from various angles. Perhaps the same applies in our films. Filmmaking is an exploration; it is bringing something up for debate; it is a philosophical inquiry. It’s also about the audience and what follows after they have seen the film, how they have seen it and how they feel that they can contribute to it. For me personally, Iranian cinema has not been a deterrent at all, if anything it has been a strong motivator for me to get more involved in cinema.
The film has just won an award at an international festival, you must be very pleased. Is this something you envisaged for your first film?
I am pleased when people connect with the film, and if it answers some question in their mind. To have an audience sit and watch the film is a huge compliment.
In fact I did not envisage A Snake’s Tail being a film at all. The final version was actually an experiment shot on a Sony Z1. It was more a teaser for financiers, a sort of trailer that I was going to use to raise funds for a 35mm film, called ‘Mullah and Me’. But when we put the scenes together in an edit, I decided to keep it. The footage then became the whole film. It’s an experiment: that’s why I acted in three parts.
What was the inspiration behind the story? It seems as if you were pouring parts of yourself out on camera.
The lead character Kami was very much myself. That’s one of the reasons I got into cinema and directing. It was some changes in my daily life that took place: my interests in self-study, inner observation increased. I found that through acting I could try to feel as another human being, but through the medium of film I could pour out my heart’s expressions. But also, the inspiration behind the film came from people who are in positions of responsibility, who have weaknesses themselves yet lead people into dangerous situations like drug addiction. These people can be Mullahs, directors, teachers, doctors, politicians or generally people in positions of power and influence.
The film seemed to exist in the cracks and strains of identities between the West and East, the Old and New, Home and Abroad, can you discuss this?
The older character [Agha, the mullah] manages to bring his culture with him but those of us who have come here at 10 years of age live in a type of Western interior design or decoration because we have abandoned all our own culture. However when we are reintroduced to it, we go and buy all the books, the rugs and we become hungry for it. Almost like Kami who wants live like Agha does.
Talk about the film’s sutured structure; it reminded me personally of one of the best qualities of Modern Post-Revolution Iranian cinema, which is its ability to be multi dimensional, pluralistic and self referential. ‘A Snake’s tail’ with its integration of multi-layered narratives seems to conform to that.
I was casually aware of the self-referential character of Iranian cinema. The interview between Bijan and Manu is used to discuss the making of the film. Their discussion is about the actual making of Kami’s story. I use it as a platform for debate. The scenes with Manu are improvised and have a loose structure. I had considered having the dialogue with actual producers and actors, and filming them but it would have involved too many trips. Both Manu and I brought our actual lives and stories to the film. We played ourselves.
Stylistically the film seems to be documentary fiction. I am thinking especially of the focus pulls and zooms in the scenes between Bijan and Manu. Discuss the stylistic elements of the film.
Those are Paul’s choices [Paul Cronin, DOP & editor], pulling in and out. I wanted the camera to be in one position, and I wanted very much to get the action in one single take. Why? I think it helps to keep the energy of the film, of the debates going on. It’s a bit like Ozu. He has a static camera and then zooms in and zooms out. I like the style of Ozu’s film and admire the long take directors.
I think when you start with limited time and resources, what you try to communicate is more effective if you use a static camera; under a different kind of production I wouldn’t have necessarily shot it that way.
If you have been influenced by Iranian cinema, which director has influenced you in particular and how?
I have been influenced by being born in Iran, of Iranian parents with Iranian schooling etc. I live in London, but I think we human beings get moulded very early on. My roots are Iranian. So I think I have and continue to see life mostly with my Iranian filters, in addition to my not so strong European and British filters. So I have been influenced by all of my past. The influence that Iranian cinema has had on me more than anything is that 'to do', 'to make', even with very limited resources, with many restrictions, is the important thing. People make films, they want to express themselves, tell a story, for whatever reason - they do it with their own time and money. There is no pre-selling, no funding, no tax breaks, no guarantee whatsoever of any screening- and yet people make films there. So that's the most important influence of Iranian cinema on me - you want to make your film: make it.
The work that I find most interesting is that of Kiarostami perhaps because I find his work the simplest. He looks at life in his way and magnifies, shines light on parts that you had seen before and puts it forward in a very direct and simple way that makes one want to watch. It’s simple, yet it’s deep and sensitive, it’s moving, and it may make you may want to look at various things in a different way, perhaps to re-examine them or to see something and notice it for the first time.
Where do you envisage Iranian cinema, given that it has now been globally acknowledged, going in the near future?
I am not certain about where Iranian cinema will go. I don't really think about that. It depends how we move as a people, and as individuals. It depends upon the issues and the questions that we are looking at. People are making films in Iran now. Some of those we will see and we will be touched by them, we’ll feel connected to them, while some might not move us. There are many people in Iran making films, let’s see where it leads to.
What do you have planned next or in the future?
Another Iranian film in London, I don’t want to expand any further on that. I have several projects in mind.
Do you plan to make any more films in Iran?
Yes. There is a possibility of my making a film in Iran towards late 2006.
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