In this video I answer the most popular questions that I have received through my website, emails and social media.
There are many perceptions of me, that I have made millions from my books and the movie, not true.
That since I fled Iraq my life has been safe, not true, either.. That the government of the country where I reside have provided me with protection and security, that's not true either, I have my own private security.
In my twenty one years in the West, I have not found democracy nor a country to call home and grant me citizenship, and so I am still stateless.
The reason?
I could not and would not sell my soul, One man forced me to become something I wasn't and ruled my life, when I broke free of him I vowed never to be forced to do anything against my will again, be it by a single person or a country.
21 July 2011
A Poet of On-Screen Violence
By EBEN SHAPIRO
Lee Tamahori insists that his scripts are already dripping with violence when he gets them.
It wasn't his choice to torture James Bond for 14 months in a North Korean prison, having him water-boarded, beaten while dangling from handcuffs and bitten by scorpions—all within the opening credits—in "Die Another Day," the Bond movie he directed in 2002. It was already in the script, he says.
The episode of 'The Sopranos" that he directed begins with Richie Aprile, one of the show's most gleefully twisted characters, getting out of prison and immediately smashing a glass coffee pot (filled with hot coffee) over the head of a pizzeria owner whom he feels has not paid him proper respect. In the last scene, the gangster runs down the same hapless victim, repeatedly backing over his prone body. Blame it on David Chase, the show's creator.
His latest movie, 'The Devil's Double," is no ode to pacifism, either. The film tells the story of Latif Yahia, an Iraqi military officer who is forced to become the body double of Saddam Hussein's depraved son, Uday. (Actor Dominic Cooper deftly takes both roles.) Mr. Tamahori says he actually toned down the script to make it more palatable to viewers.
The 61-year old New Zealand director first made a name for himself in 1994 with "Once Were Warriors," a grim depiction of Maori poverty and domestic violence. The indie film attracted widespread critical acclaim and brought offers from Hollywood. Since then, Mr. Tamahori has worked on a checkered assortment of films, ranging from the Nicolas Cage bomb, "Next," to a taut thriller, "The Edge," starring Anthony Hopkins and Alec Baldwin, with a screenplay by David Mamet.
The Wall Street Journal: What attracted you to "The Devil's Double"?
Mr. Tamahori: I've always been perversely fascinated by the rotten sons of dictators. Now you have Gadhafi and his ragtag brood in Libya. They always seem to breed these contemptuous children. They have unlimited funds and they can literally get away with murder.
You've said you used gangster movies as a model for "The Devil's Double."
It kind of screamed out for the gangster genre. It was kind of a mafia family. There was nothing that can take this guy down. The Hussein family almost mirrored the Corleones and that's how I framed it in the film. You've got Saddam as Don Corleone. You've got an out-of-control Sonny who is never going to get the power (in Uday) and Qusay, the younger son, is the Michael of the piece.
It's a pretty dark, violent movie.
We modified some aspects of it. It was a pretty relentless script. This guy was 50 times worse than anything we've done in the film. We couldn't do end-to-end horror stories.
One of the most disturbing scenes is when, as a warning to stay in line, Latif is shown very realistic homemade torture tapes from Uday's private collection. They weren't actual found tapes; they were created for the movie, right?
I wanted that scene to be horrific. I wanted it to come out of nowhere, while Latif was lying around in the lap of luxury, having his feet massaged. Uday used to film everything. I decided that the best person to shoot all the torture video stuff was me because I'm a bad cameraman. We didn't even light it. It was just me and the actors. I had a Handycam as if I was a voyeuristic camera operator. For a lot of people, that scene is the worst in the movie. There is a cut-down version of those torture scenes, (to get an R-rated version for the U.S.)
What did you cut from the scene?
A rape at the beginning, a woman getting gang raped. A man being blow-torched. And a guy having his head drilled. I'm not saying that more is better. It was almost too much for some people.
How did violence become such a big part of your movies?
I grew up in New Zealand and became a great fan of the hard-edged American film directors of the '60s, Bob Aldrich ["The Dirty Dozen"], Sam Peckinpah ["The Wild Bunch"]. When you hadn't seen stuff like that before, it was quite shocking. I started to see that there was a different way of approaching violence in pictures. I'd seen barroom brawls. I've seen quite a bit of it. It was always around me. Fights and brawls between men are usually very vicious and over very fast. The fake American fight scenes, where they would slug it out and people would go through windows, I never really believed it.
What about the violence in "Once Were Warriors"?
In fight scenes, the more that you cut, the more edits you use, the more the audience becomes aware that there is trickery going on. In "Once Were Warriors," we used very few cuts. One shot. I had an ex-bouncer from Glasgow as the stunt coordinator. Glasgow breeds the toughest streetfighters in all of Scotland. The brawling in pubs is almost legendary. I told him I wanted that style of fighting. In a barroom brawl, you hit him before he hits you and you hit him with everything you've got and when he's down, you make sure he's unconscious. That's the simple basic rule of all street fighting. When the movie was released, people would come up to me, boxers, wrestlers, people who had training in hand-to-hand combat, and say, "that is the most realistic film I've ever seen."
How did you get involved in "The Sopranos"?
I watched the first episodes and said, "this is the best television I've ever seen. This is brilliant. I want to do one of these." They got me a meeting with David Chase, who was in town casting season two, and I said "David, just let me do one.''
What was it like to work on the show?
I was a very happy cog in the machine. It came from David and his writing crew. They imposed themselves brilliantly on the show, as they should. It was so tight. Even if I'd tried to change one word in the script, all the writers would go into a huddle and they'd say, "Yeah that's OK," or "Just leave it as it is." It was wonderful to have that level of concentration on the script.
What did you bring to your Bond film?
It was my idea to do all these little homages to Bond history. It's chock full of little tiny set pieces, with echoes of things that have been seen before. Only hard-core Bond fans will notice them. Nobody has picked up all of them.
The Devil's Double Official Trailer 2011
23 January 2011
The Devil's Double
By: Peter Debruge
Posted: Sun., Jan. 23, 2011, 3:55am PT
A Corsan presentation of a Corsan, Corrino, Staccato production in association with FIP Malta, Tulchin Entertainment, Foreign Media, Film Finance VI. (International sales: Corsan World Sales, Antwerp.) Produced by Paul Breuls, Michael John Fedun, Emjay Rechsteiner, Catherine Vandeleene. Executive producers, Harris Tulchin, Arjen Terpstra. Co-executive producers, Harm Mulder, Sjef Scholte. Directed by Lee Tamahori. Screenplay, Michael Thomas, based on the life story of Latif Yahia.
Uday Hussein/Latif Yahia - Dominic Cooper Sarrab - Ludivine Sagnier Ali - Mimoun Oaissa Munem - Raad Rawi Saddam Hussein/Faoaz - Philip Quast Yassem - Khalid Laith
The life story of Latif Yahia, body double to Saddam Hussein's diabolically unhinged son Uday, makes for slick action-movie fodder in "The Devil's Double," a rocket-powered thriller rife with scenery chewing and fast-and-loose revisionism that could, by dint of sheer sensationalism, break the Iraq movie curse and rack up some serious B.O. around the world. More "Scarface" than "House of Saddam," director Lee Tamahori's gangster-style treatment veritably blisters with tension as reluctant decoy Latif comes to fill the void of Uday's nonexistent conscience, playing front-row witness to the tyrant's insatiable cruelty. Biggest setback Stateside could be the ratings board.
A once-in-a-lifetime opportunity for character actor Dominic Cooper (usually relegated to dreamy supporting parts), "Double" allows the Brit thesp to tackle two juicy, red-meat roles, playing opposite ends of the moral spectrum as both Latif and Uday -- often in the same shot. In fact, "Double's" seamless split-screen work makes "The Social Network's" high-tech twinning effects look as old-fashioned as Friendster.
Within its opening minutes, Michael Thomas' script lays everything out, cutting from a montage of real-world atrocity (front-line footage depicting corpses and other casualties of war) to an attack in which Iraq Army Lt. Latif narrowly escapes with his life. Called to Baghdad by former classmate Uday, the decorated officer comes face-to-face with Uday's favorite mistresses, Sarrab (alluring French actress Ludivine Sagnier), and judging by the look she throws Latif, we know exactly where "Double" is headed before Uday even enters the room.
Uday's proposal is simple: He needs a "fiday" (a lookalike who can stand in for him in public), and Latif can either accept the job or see his family executed for his insubordination. Even when faced with this impossible choice, Latif resists. Did he really have such reservations? Though the film was inspired by Yahia's true experiences, Thomas and Tamahori treat "Double" as a dramatic retelling untethered to reality. For the sake of a good yarn, they prefer to think of Latif as a righteous soul, forced to "extinguish" himself (as he puts it) and mirror this monster feared by the Iraqi people.
"Double" panders to the basest tendencies in the makeover sequence that follows, depicting Latif's transformation with the same sordid approach seen in many an episode of "Nip/Tuck." Uday watches with mad-scientist zeal as Latif is stripped down, sized up and reshaped through plastic surgery to reflect his new boss.
The film shows a crass, party-boy interest in Uday's attitude and lifestyle, ranging from an unnecessarily explicit series of torture videos (including a power drill to the ear sure to inflame the MPAA) to uncomfortable scenes of kidnap, rape and murder. "It's all worse than we could possibly portray," Tamahori said by way of defense at pic's Sundance premiere, though one wonders whether auds really needed to have their faces rubbed in such vile behavior. "Double" further emasculates Uday by injecting suggestions of homosexuality and incest.
Looking on with disapproval, Latif remains upstanding through it all, and though it's easy to feel manipulated by the polar differences between Cooper's two characters, that dichotomy makes for great drama. Watching the swift, svelte energy with which Tamahori hurls us forward, it's easy to see the qualities that earned him the gig directing "Die Another Day," especially in the music choices, which favor electronic and rock over the typical regional sounds used to situate Middle Eastern fare.
Tamahori clearly wants the experience to feel extreme, intercutting blocks of vintage news footage from Saddam's invasion of Kuwait and the eventual American reaction to situate the Malta-based shoot and ground Uday's increasingly demented behavior. Whether brandishing a gold-plated assault rifle or snorting cocaine off the end of his knife, Uday easily could have lapsed into caricature, and one suspects that an entirely different, more satirical film might have resulted from the same script -- one closer in tone to "Dr. Strangelove" than "Dr. No."
That potential tongue-in-cheek quality might explain pic's preposterous ending, which indulges in a radical historical rewrite, or the implication that Uday's staff (including Raad Rawi as his security chief) might not have his best interests in mind. At any rate, someone else can come back and do a proper documentary later. Tamahori aims to entertain auds, and he does so with expert attention to all the crafts, especially the hair and makeup team that helps us distinguish between these evil twins.
Camera (widescreen, 35mm/video), Sam McCurdy; editor, Luis Carballar; music, Christian Henson; music supervisor, Mark Lo; production designer, Paul Kirby; art director, Charlo Dalli; set decorator, Caroline Smith; costume designer, Anna Sheppard; sound (Dolby Digital), Tim Fraser; sound designer, Stefan Henrix; supervising sound editor, Henrix; re-recording mixer, Martin Jensen; special effects supervisor, Michael Dawson; visual effects supervisor, Paul Round; visual effects, Peerless Camera Co.; stunt coordinator, Lubomir Misak; hair/makeup/prosthetics designer, Jan Sewell; line producer, Guy Tannahill; assistant director, Matthew Penry-Davey; casting, Amy Hubbard, John Hubbard. Reviewed at Sundance Film Festival (Premieres), Jan. 22, 2011. (Also in Berlin Film Festival -- Panorama.) Running time: 109 MIN.
