The Man Who Burns in His Own Light<\/h3><\/div><\/div><\/div><\/div><\/div><\/div>On February 7, 2019,<\/strong> as part of our Rooftop Seminars,<\/strong> Ercan Kesal<\/strong> held a talk on Metin Erksan\u2019s book titled \u201cKendi I\u015f\u0131\u011f\u0131nda Yanan Adam\u201d (The Man Who Burned in His Own Light) and answered questions from the audience.
\nBelow, you can find some excerpts from Ercan Kesal\u2019s talk.<\/p>\nApart from being a director who introduced H Ko\u00e7yi\u011fit, T \u015eoray, H Hamzao\u011flu E Ta\u015f, and many more names into the world of cinema, M Erksan is a director who turned the star system of Ye\u015fil\u00e7am upside down.<\/p>\n
Despite being one of the highest-earning and effective directors of the time, he never compromised his beliefs and ideas.<\/p>\n
His most infamous movie, \u201cSevmek Zaman\u0131\u201d (Time to Love) was described by French cinema historian Sadoul as a text in which harsh class conflict can be observed in its clearest form in the world of cinema.<\/p>\n
He is also the director whose first film Karanl\u0131k D\u00fcnya (Dark World) was filmed with a cast completely consisting of members of the Turkish Communist Party. Speaking with right-wing Peyami Safe for the film he wanted to shoot for the novel Beyaz Cehennem (White Hell), he says: They identify me as left-wing. Would that be a problem for you? and that is how he obtains permission.<\/p>\n
Love also has no reason. And a justified reason would probably push you out of love. That is what makes it so unique. Despite having no logical reason, with no example as logical as the experience itself, love is an action that is, in essence, unique and one of a kind.<\/p>\n
A film\u2019s perspective on love is even more valuable as it does not always look at the world through the lens of the beloved, but rather the one who loves. M. Erksan\u2019s \u2018Time to Love\u2019 has such a mission.<\/p>\n
As I am filling my glass: \u2018I don\u2019t drink wine, I\u2019m diabetic; you’ve brought chocolate as well, thank you but I don\u2019t eat those either. I also don\u2019t like cheese,\u2019 he says.<\/p>\n
Well, then what?…<\/p>\n
I asked M Erksan: What film would you like to shoot?<\/p>\n
He told me it would be about Sait Faik\u2019s projector on the island ferry, how he turns the light of the night projector all of a sudden toward the beach, the houses, the people, holds it to their privacy; and how he returns home and passionately tells the stories he derived from the night to his son who waited up for him. My eye….became fixated on the binoculars just next to the chair, of course…<\/p>\n
As he is showing me Said Durani\u2019s house: \u201cMan, at least don\u2019t turn it into a kebab shop!\u201d he said.<\/p>\n
When making A\u015f\u0131k Veysel\u2019s movie, the short, barren and sparse wheat crops in Sivrialan village was cause for the censor board to take action. According to them, these images portrayed our country as poor and helpless. A few wheat crop scenes from American films were added to the movie.<\/p>\n
M Erksan about the Fahrettin Pa\u015fa he wants to make:<\/p>\n
An Arab soldier points a British-made rifle at an Ottoman soldier, waiting for the right moment. He pulls the trigger at the same time the Ottoman soldier cries out Allahu ekber, the same words pouring out of the Arab ALLAHU EKBER.<\/p>\n
M. Erksan was the director of passions and obsessions.<\/p>\n
He had interesting approaches to the cinema; if you tell Leyla\u2019s sister\u2019s love story, not Leyla\u2019s if that is what you pursue, then you have a cinema.<\/p>\n
In Time to Love, he wanted to create a film which describes the anatomy of love and which allowed him to breathe a sigh of relief. M Kenter and S \u00d6zcan, who played in his film, were not actors who were typically preferred by cinema in those days. He wanted a mature, grounded type like M\u00fc\u015ffik Kenter. And he had explained this as: I want a face that hasn\u2019t been seen much in cinema.<\/p>\n<\/div>
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On February 7, 2019,<\/strong> as part of our Rooftop Seminars,<\/strong> Ercan Kesal<\/strong> held a talk on Metin Erksan\u2019s book titled \u201cKendi I\u015f\u0131\u011f\u0131nda Yanan Adam\u201d (The Man Who Burned in His Own Light) and answered questions from the audience. Apart from being a director who introduced H Ko\u00e7yi\u011fit, T \u015eoray, H Hamzao\u011flu E Ta\u015f, and many more names into the world of cinema, M Erksan is a director who turned the star system of Ye\u015fil\u00e7am upside down.<\/p>\n Despite being one of the highest-earning and effective directors of the time, he never compromised his beliefs and ideas.<\/p>\n His most infamous movie, \u201cSevmek Zaman\u0131\u201d (Time to Love) was described by French cinema historian Sadoul as a text in which harsh class conflict can be observed in its clearest form in the world of cinema.<\/p>\n He is also the director whose first film Karanl\u0131k D\u00fcnya (Dark World) was filmed with a cast completely consisting of members of the Turkish Communist Party. Speaking with right-wing Peyami Safe for the film he wanted to shoot for the novel Beyaz Cehennem (White Hell), he says: They identify me as left-wing. Would that be a problem for you? and that is how he obtains permission.<\/p>\n Love also has no reason. And a justified reason would probably push you out of love. That is what makes it so unique. Despite having no logical reason, with no example as logical as the experience itself, love is an action that is, in essence, unique and one of a kind.<\/p>\n A film\u2019s perspective on love is even more valuable as it does not always look at the world through the lens of the beloved, but rather the one who loves. M. Erksan\u2019s \u2018Time to Love\u2019 has such a mission.<\/p>\n As I am filling my glass: \u2018I don\u2019t drink wine, I\u2019m diabetic; you’ve brought chocolate as well, thank you but I don\u2019t eat those either. I also don\u2019t like cheese,\u2019 he says.<\/p>\n Well, then what?…<\/p>\n I asked M Erksan: What film would you like to shoot?<\/p>\n He told me it would be about Sait Faik\u2019s projector on the island ferry, how he turns the light of the night projector all of a sudden toward the beach, the houses, the people, holds it to their privacy; and how he returns home and passionately tells the stories he derived from the night to his son who waited up for him. My eye….became fixated on the binoculars just next to the chair, of course…<\/p>\n As he is showing me Said Durani\u2019s house: \u201cMan, at least don\u2019t turn it into a kebab shop!\u201d he said.<\/p>\n When making A\u015f\u0131k Veysel\u2019s movie, the short, barren and sparse wheat crops in Sivrialan village was cause for the censor board to take action. According to them, these images portrayed our country as poor and helpless. A few wheat crop scenes from American films were added to the movie.<\/p>\n M Erksan about the Fahrettin Pa\u015fa he wants to make:<\/p>\n An Arab soldier points a British-made rifle at an Ottoman soldier, waiting for the right moment. He pulls the trigger at the same time the Ottoman soldier cries out Allahu ekber, the same words pouring out of the Arab ALLAHU EKBER.<\/p>\n M. Erksan was the director of passions and obsessions.<\/p>\n He had interesting approaches to the cinema; if you tell Leyla\u2019s sister\u2019s love story, not Leyla\u2019s if that is what you pursue, then you have a cinema.<\/p>\n In Time to Love, he wanted to create a film which describes the anatomy of love and which allowed him to breathe a sigh of relief. M Kenter and S \u00d6zcan, who played in his film, were not actors who were typically preferred by cinema in those days. He wanted a mature, grounded type like M\u00fc\u015ffik Kenter. And he had explained this as: I want a face that hasn\u2019t been seen much in cinema.<\/p>\n<\/div>
\nBelow, you can find some excerpts from Ercan Kesal\u2019s talk.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>