Ghadfi Mahmoud Oussama “The intermittents of the spectacle have suffered enormously”

Libé: In recent months, have you been more afraid of the virus than of the economic uncertainty that hangs over the artistic sector?   Ghadfi Mahmoud Oussama: Since I started working in this environment, I have learned that the means of subsistence are in the hands of the good Lord. But it is true that the period has been very difficult for many citizens in general and artists in particular. For my part, I worked as a voice actor for films. So I don’t have too much to complain about. To hear you, one would think that fundamentally the health situation and the restrictions linked to artistic activities did not have a huge impact? Yes, there has been an impact. Fortunately, I had dubbing as a lifeline. Because I have no social advantage that allows me to benefit from government assistance. So in the end, I was happy to work in dubbing otherwise it would have been a disaster, as many of my colleagues have experienced. As freelancers, we have to work as hard as we can, but in the absence of filming and shows, the entertainment workers have suffered enormously. Especially since the expenses have remained the same. And especially Eid Al Adha. Without forgetting the Ministry of Culture, which dragged its feet to pay what it owed to the theatrical companies. Can you tell us more? The ministry signed with several theater groups for four performances. Only four, from the start of the pandemic until now. Each actor was to receive 2500 dhs per show. That is a total of 10,000 dhs. But we have been waiting for two years and we still have not seen the color of this money. Fortunately, the royalties have alleviated the seriousness of the financial situation of the actors. Since now, for each replay of a series or a TV movie, the actors and directors receive financial compensation. How did you feel about the controversy arising from government aid granted to artists? Unfortunately, those who have been critical in this regard have no idea of ​​the precarious situation of intermittent entertainment workers. This is why I was saddened by the controversy, but I did not pay more attention to it than that. Coming back to dubbing, since when did it start to develop in Morocco? Dubbing was really launched in 2007. Then, little by little, it evolved along with technological advances. In addition, artistically, the actors have also improved in terms of the game and timing. Because it is not an easy job. It takes experience and a certain know-how to successfully dub. What do you think of the introduction of the vaccine pass to revive the artistic sector? I am not an expert, but I have the impression that as long as there are new mutations, no one will be safe, even if they have a vaccination pass. Suddenly, if it turns out that the mutations are resistant to vaccines, we are not out of the woods, vaccine pass or not. For my part, I am partially vaccinated, with a second dose scheduled in a few days, but the other concern is that at the moment there is no real work. It is dead calm. On the other hand, I want to say that if we are not sure that the virus will kill us, the current government will for sure, with so many contradictory decisions and measures. I have the impression of being like Tarik Bnou Ziyed, between two fires. The virus on one side and the government on the other. Beyond the pandemic, how do you judge the development of theater and cinema in the country? Regarding cinema, I notice a great technical evolution unlike the artistic. We have good directors, good technicians and good actors, but we are facing a major crisis in terms of script. Let’s say we have screenwriters but no screenplays. Today, anyone with a PC or tablet can call themselves a screenwriter. But at the same time, there is a glaring lack of culture. How can you become a screenwriter without ever having read a novel? So basically there is no shortage of scenarios, but they are generally meaningless. One might think the opposite. To know that the advent of new technologies is an accelerator of the development of scriptwriting practice? In fact, there are also gaps in academic terms. We do not have any schools or universities that offer specific areas of study for scriptwriting. A film is a story. Situations and characters. The film is also a vector of thoughts. A philosophical vision of society, politics and life in general, in a comic or tragic way. Without all of these elements, which you learn to master with studies then experience and finally general culture, it is impossible to write a scenario that holds up. “There is no shortage of scenarios, but they are generally meaningless” Without these elements, the script is rendered meaningless and the viewer has difficulty identifying with the story being told. In recent years, I have the impression that we focus more on technique than on scripts. Directors and other producers are more drawn to form than content. As a result, the scripts are written in haste, with no regard for quality or emotions.