● Birthplace: Tehran
Biography
He spent his elementary and high school years in Tehran and studied photography while studying. In 1972, he entered the high school of television and cinema and received a degree in shooting and filming in 1974. He then taught as master of photography and lab at the same school to teach and educate. Two years later, he abandoned the teaching work and photographer to a professional cinema and worked with many of the famous director of the Iranian cinema. In 1992, he was an actor, directed by Mohsen Makhmalbaf, as a film director. Although the success of this effect was not more than his next indicator, such as redness and cousin Cap film, but it is a good experience for the Aziz Saati and experienced collaboration with artists such as Akbar Abdi, Fatemeh Motamed Aria, Mahaya Petrosyan and Hamideh Kheirabadi. In 1994, he spent a high-effort period in film and television field and was involved in producing important works. This year, he attended 4 important movie films and introduced himself to the artists ‘ Society. The important works of Aziz Saati this year, activities in the film of my plum I jojo! Directed by Marzieh Boroumand, acting in blue Scarf film as director of film, the activity in the film of the Red Hat and cousin as director of film and activity in the film I love is considered as the manager of the film.
In year 1994, he was in film of the Red Hat and cousin as a film director who was able to bring his place among the residents of cinema. Aziz Saati, he was able to figure out a successful professional experience in the film and cousin, collaborating with a large and experienced actors such as Fatemeh Motamed Aria, Hamid Jebelli, Iraj Tahmasb, and Zendeh Hamideh Kheirabadi, to transform his work level. In addition to the redness and cousin Cap film, the year 1997 has also been working in the glass agency film. Aziz Saati this time, with Ebrahim Hatami Kia, director of film Agency, glass and artists such as Parviz Parastui, Habib Rezaei, Reza Kianian, and Asghar Naqi Zadeh. Although he was more than a film manager, it was active in other professions. Aziz Saati, in addition to the director of filmed as a photographer and as a title, has been active in cinema and television. The most important works of Aziz Saati in the photographer’s career, movie Punishment Committe, The Wolf’s film Trail, Del Shodegan film, Banu Film, Wolf Footprint, mother film, Thousand Hands, movie mission, Kamal ol-Molk film, and film: Samad’s are in to be in. The most important Aziz Saati effect in the title profession is the film under the Peach Tree.
Aziz Saati, in year 1997, for The film The Glass Agency directed by Ebrahim Hatami Kia, was able to be nominated in the 16th Fajr Film Festival for the best filming of the Crystal Simorgh Award. Also Aziz Saati of 1995, for film The smell of Joseph’s shirt directed by Ebrahim Hatami Kia was able to be nominated for the best filming in the Fajr Film festival in the Soda section. Master Aziz Saati, now photographers and Videographers owns the name of Iranian cinema and board of Directors of the Association of Iranian Cinema videographers.
At the sidelines of the photo exhibition “With Kimiai in Tehran” in May 2013, he said, “the pleasure to work with experienced directors was the opportunity to give me photography.” So I could learn and experience it, I thought I could lose it with filming it. Because, along with these great directors with full independence and the joy of my pictures, I would have learned a lot of things.
Aziz Saati, He is a History
– At the sidelines of the fair photos of the three Masoud Kimiai film (The Blade and The Silk, Snake Fang, The Wolf’s Trail), in Golestan Gallery:
Rakhshan Bani Etemad: Aziz Saati is a date. The presence and look of camera valve captured the positions and spaces that have been recorded to your nose to the outer world and over time, which is why photos of his films are not just film, recalling the forgotten taste of life in the past Commotion now, the opportunity to ponder it from us. Iranian cinema’s beloved presence. “
Masood Kimiai: It’s hard for you to write a road, low, but comrade and love, very high-end road, which is not a traveler, only and little friends. It’s a side of the pill, and it’s not so smooth, it’s a stranger, you’re on your road with a camera on Cole… You’re relaxed. Now you will not be afraid, the effort to face the death of fear is the life of photography. With me and a few others, the night that the black man was going to make us expensive and expensive to go from the foot of the night even with a joke. Now, you and a few people, we knew black. We drove the Shahnameh’s ponies. I was in town square and you were abundant in photos. You were ready for your ponies. You kept very much of this world in photos. And they stayed there. Old people were young in your photos. On the bodies of the same, they went to the Earth and kept your photo. The smell of your breath remains on love. Myth ponies that will shower your cameras. In the context of black Istadi. The scent of death is the aroma of the zdy and the face and smile, but shape you, old eyes. Never snow in your water.
Lily Golestan (Director of the Golestan Gallery): When you look at these photos you see a lot of famous actors, but the fact is that the photos themselves are great photography. It is true that the director created the space, but the photographs were taken from an angle that belongs to the photographer and he depicted this space and space. That is why it has made the photos beautiful.
Aziz Saati: We all learned what was in the movie theater and on screen. There was no television, no other pictures, no screenshots and a showcase in front of the cinema. I would stand in front of the cinema for hours watching the pictures. It was at the end of the Red Line movie that I started my first professional career with Mr. Kimiai: I don’t know why the film photographer went there, it looks like he had to go to another job: so it was from that film that I I got in touch with Mr. Kimaii. By the way, one of the same pictures I took was a poster. This was actually the beginning of my relationship with Mr. Kimiai, our acquaintance goes back to the movie “Kaiser” which I have always been a fan of.
Massoud Kimiai: Of course, this wasn’t the case for me with any photography, but it happened between me and Aziz. I very much believe that when the days are gone after filming is over, I will see the pictures at night. Because photos are more important to me than beech. It is with the photographs that I find the mood of my film, and then slowly find my own film. When you take a photo like a loved one you can see all that space and more importantly you can see the continuation of the film, that is, you can see the untouched sequence with the photos and imagine the mood and mood. Make it light and heavy. Because the movie Rush is very ambiguous when moving but not yet in the cinema, but no, at the same filming location, your actor is the same and you don’t have to wait for the editing to feel the same, it shows the color of the wall. Shows the mood of the actor.
Aziz Saati: Quite right, the photo gives one the opportunity to focus more on seeing the face of the actor, the decor, and more, because the image keeps everything fixed and everything is in Adam’s hands. . As Mr. Kimaii said, Rush is not a movie, it has to come together to make a decision about it. As a result, the director sees the result of Rush much later. But on the contrary, with the focus the viewer has, he can see what needs to change, whether or not the makeup is good and what issues the director can better decide. By definition, the only one I saw who was very, very interested in seeing the reverse was Massoud among the directors and filmmakers. And for a long time he might have thought I would take twenty or thirty pictures the day I took a lot of pictures, but he would often complain about why I took four pictures, but I felt very satisfied. Is and loves. He’s kind of the one who encouraged me the way I was going. Of course, I have another image of Massoud Kimii. True, I simply told the story and solved it, but sequencing is not that easy. I first saw Massoud, next to your Ari Flex camera. He was thirty, leaning on the camera, as if he had to lean on the camera, and filming was like a real blessing or a maziar beam. As if this is your camera. Thirty of them were of the essence. It was as if they were part of their body. Your camera. Thirty had a small body, just a lot of noise. It was as if they didn’t pair up, they wouldn’t work, when they paired, they would then.
My picture is that I saw Massoud, with an office of 200 large leaves divided in office, in same order as they were taken, registered in the office, meaning they must have seen the movie images before filming. . The pages I was seeing included a description of the scene, in the same way that everyone in the script had in mind, a lens: 80, 50 or 25, and the scene details wrote it all in the office, so it wasn’t. They went to the stage, but also their predecessors, and the point that was important was the camera set by Massey Kimayi, which was very important. If you worked, you would know how important it was. Lens 85 or 50 means the same.
We saw that in most of the films the camera was replaced, they would shoot camera or replace this lens or lens to see the scene together but these were recorded, there is evidence, the office says Was: This photo is taken with a 50 lens, it was sitting behind someone who knew, there was nothing to look behind the viewfinder, it was doing exactly that from the office in his hand, meaning Massoud Kimayi The photo and lens were all resolved, meaning he knew how big his 50-frame lens would be or when to move the camera, and for many of me sweetest moments there were, at the same time It turns out that while the camera was working, Massoud was talking to the actor at the same time, he was accustomed to almost no longer doing it, this is one of the sweet and memorable scenes of the cinema next to the camera. You. Thirty with the voice he has and the director he talks to and directs with her actor, he practiced when the camera was off, but when the camera was on, he had another pleasure, as I said: And object was the one with camera and cameraman, then you would know that he had to say something new, as if he were remembering something new, and that was one of the pictures that I enjoyed watching so much of, and later not seeing, in the movies I didn’t see any more.
When your Ariflex Camera. It was thirty, four hundred fit films in its cast. I wouldn’t name it, it was possible, and we would work and make films. There were fewer kids out there who thought there was a thousand Fit cast overseas, I wish we had, well it wouldn’t, but we worked with the same 400 Fit and made films. There was no problem, we could, and they were the ones that made Caesar, the rainstorm, Dash Akol, with the same 400-foot casts. While the facilities were later improved, the camera was bi. L. It came out, things got better, the labs got better, but were our movies any better? Did Dash Akkel repeat, did Deer repeat? Or did it happen again? Yes the facilities were low, the same as your camera. It was thirty but our cinema was with your camera. Thirty worked. From Samuel Khachikian to Bahram Beyzaie and Masoud Kimayi were with you. Thirty worked.
In the past there was no home camera, and for the first year, they were getting ready to go to the studio together, take photos, go to family outings to take pictures, wear their clothes, make up. Just like the pictures that Masoud mentioned. Gesture photos, six-pose photos, people going to the galleries, whatever the spectrum they were, they wanted to take a tie, so there was a tie in the photo galleries, a dirty shoulder, and Paraffin they used to shoot and photograph. Fashionable photos. It was important, it had a lot of fun, it was like going to the cinema, going to the cinema itself, some people had to come in on Friday and things were ready, then people were still wearing their stylish clothes to go To perform the ceremony. Watching a movie was important, having a family going to the cinema was an important thing. No more those scenes, these pictures that I say are very legendary.
Now it’s easy to get a movie and watch it. We have so many movies, but fewer we see, the less thirsty we are. I’m seeing some movies being added to the house now, but do you see all those movies? Did you see the thirst we had? Do you see with the accuracy that we saw? I don’t think so. We could hardly get that Friday so we could go to the movies, see the movie. As a result, we are really devoured. We saw the film with our body and soul.
Activities
1984 – Tehran Old porch photo exhibition, in Silver Publishing gallery
1992 – Founder of the Association of Iranian Cinema photographers and its presidency
2000 – 2009 – Member of the board of directors videographers Iranian Society of Cinema
1995 – 2003 – Member of the Council for the Assembly of Iranian Cinema Museum
1998 – Jury member, first Iranian photo exhibition
1994 – Member of the jury section, 13th Fajr Film Festival
1999 – Member of the Board of film selection of Iran’s Cinema film festival
2000 – Member of the board of choice of Iranian cinema films at 19th Fajr Film Festival
2000 – Member of jury of Iranian cinema competition, the 23rd Fajr Film Festival
2000 – 2004-Head of Iranian society of Videographers Cinema
2004 – 2009-Member of the Board of Directors Videographers
2009 – Tehran photo collection published in Tehran, Ltd., Parviz Medicines
2010 – Jury member, short films competition, at the photo year exhibition
2010 – 2011 – Member of the Supreme Council of Arbitration House of cinema
2012 – As photo exhibition with Hatami in Tehran, in Gallery 6
2013 – Photo exhibition in Golestan Gallery, Tehran, Iran
Director of Cinematography
2008 – Doubtful
2005 – Under Peach Tree
2002 – Kolah Ghermezi and Sarvenaz
2001 – Girl Sweets Sale
2000 – A Conversation With The Wind
2000 – Ray Traveler
1998 – Son of Mary
1997 – Glass Agency
1995 – Minoo Tower
1995 – The smell of Yusuf shirt
1995 – Sunny Man
1994 – Plum! Plum! I Jujam
1993 – I love Earth
1992 – A man of a bear
Cinematography
1997 – Maternity Seal
1995 – The Scent of Joseph’s Coat
1994 – Blue scarf
1994 – Redhat and Cousin
1993 – I love Earth
1992 – Actress
Photography
1976 – Crow
1976 – Along The Night
1977 – Long Shadows Of Wind
1977 – Samad Goes To Town
1979 – The Ballad of Tara
1982 – Red Line
1982 – Death Yazdgerd
1984 – Kamal ol-Molk
1987 – Razor And Silk
1987 – Pawnshop (Crystal Simorgh winner from Fajr Film Festival)
1987 – Mission
1987 – Haji Washington
1988 – Payizan
1988 – Jafarkhan Returned From Farang
1988 – The Shadows Of Sadness
1988 – Maybe When Again
1989 – Bicyclone Run (Crystal Simorgh Winner From Fajr Film Festival)
1989 – Brutality
1990 – A Snake Tooth
1990 – Time Lost
1990 – Mother
1991 – Shadow Of Imagination
1991 – Lady
1991 – Journey of the Jadei
1992 – Dalthose
1990 – Wolf footprint
TV Series
1985 – 1980-Hezardastan
1985 – Autumn Sahara
Cameraman – Short Film
1994 – Pictures of Qajar, Stone And Glass
1999 – A Conversation With Tthe Wind
Director
2006 – Documentary film videographers
2007 – Short film Remembering Ali Hatami
1999 – Exquisite engineer documentary film, artisan Cinema
Book
2014 – Saati in Tehran
Awards
– Cinema magazine Critics Award for film actor-director: Mohsen Makhmalbaf
– Cinema World Image Magazine Critics Award, for filming the film agency-director: Ebrahim Hatamikia
– 2006 – Special prize for documentary videographers of Iran’s cultural and artistic section of Tehran municipality
Festivals
1989 – Winner of Crystal Simorgh best shot-part of competition promotional materials films, from the 8th Fajr Film Festival for the hip-cycle film, made by Mohsen Makhmalbaf
1988 – Winner of Crystal Simorgh best shot-part of competition promotional materials films, from the seventh edition of Fajr Film Festival for the elderly film; episode 1, made by Mohsen Makhmalbaf
Fringe Activities
2009 – Publishing the photo collection on the calendar of Tehran
– Poster design for cinema
– Book cover design
– Scene Design
– Planner and assistant director
