The Sheik and I Page #4

FINE. YOU WIN.

YOU WIN.

SO YOU JUST NEED

TO WASH YOUR HANDS?

OH, FACE AND FEET?

YEAH.

[WATER RUNNING]

THE MOUTH?

MOUTH. BISMILLAH.

BISMILLAH.

OH, YOU PUT IT IN YOUR MOUTH?

YEAH.

YOU BLOW IT OUT.

SO, TO START A PRAYER,

WE SAY, ALLAHU AKBAR,

WHICH IS GOD IS GREA OR GOD IS THE GREATEST.

ALLAHU AKBAR--

BY RAISING:

THE HANDS LIKE THIS.

ALLAHU AKBAR.

ALLAHU AKBAR.

THEN WE PUT OUR HANDS HERE.

RIGHT OVER LEFT.

MM-HMM.

AND THEN,

PROSTRATION.

THE ELBOWS ARE RAISED.

IT'S OKAY.

JUST LEAVE IT THERE

IF IT FALLS OFF?

THE ELBOWS ARE RAISED.

OH, LIKE THIS?

YEAH.

YES, LIKE THIS.

YOU JUST LEAVE IT.

SOME PEOPLE WILL TRY

TO PICK IT UP,

BUT AS MUCH AS POSSIBLE,

NOT TO BREAK THE RHYTHM OF--

UH-HUH, IS THAT TRUE NOW TOO

OR JUST DURING THE PRAYER?

JUST DURING THE REAL PRAYER.

DURING THE REAL PRAYER.

YES. SALAAM ALAYKUM.

SALAAM.

SALAAM ALAYKUM.

SALAAM.

SALAAM ALAYKUM.

SALAAM.

STOP.

OKAY STOP. STOP.

YOU HAVE TO STOP.

SORRY.

YEAH, YEAH.

YOU KNOW, CAMILLE TOLD

ME THE STORY ONCE ABOUT LIKE,

THERE WAS THIS FILM

ABOUT MOHAMMAD THAT WAS MADE.

I THINK IT WAS CALLED

THE MESSENGER.

IT S LIKE A BIG BUDGE SPECTACLE FILM.

AND THE WAY THEY GO AROUND THE PROHIBITION

AGAINST REPRESENTING MOHAMMAD

IN SUNNI ISLAM--

WHICH IS NOT WHAT HAPPENS

IN SHIITE ISLAM,

WHICH IS WHAT IRANIANS ARE,

WHICH IS WHAT MY PARENTS

ARE AND THE TRADITION

THAT I'M FROM--

IS THAT THEY DIDN'T SHOW

MOHAMMAD'S FACE.

IT WAS ALWAYS A POV SHOT.

NO ONE EVER KNEW

IT WAS MOHAMMAD,

IT WAS LIKE THROUGH HIS EYES.

AND APPARENTLY, THERE'S A GUY

IN THERE WHO'S LIKE THE BAD GUY

IN THE MOVIE AND WHEN PEOPLE

WOULD SEE HIM ON THE STREE

AFTER THE MOVIE CAME OUT,

THEY WOULD LIKE THROW

ROCKS AT HIM AND SPI AT HIM AND LIKE, THREATEN HIM.

AND CAMILLE EXPLAINED

TO ME LIKE,

IN THE MIDDLE EAST,

THAT NOT ALL PEOPLE

UNDERSTAND WHAT FILM IS.

THEY DON'T UNDERSTAND

IT'S PRETEND.

AND THIS GUY COULDN' GET A JOB, THE ACTOR.

THE HEAD OF THE COUNTRY

HAD TO LIKE GIVE

HIM A SPECIAL ANNUAL STIPEND

SO THAT HE COULD,

HIM AND HIS FAMILY

COULD LIKE LIVE, BECAUSE

EVERYONE HATED HIM

FOR PLAYING THIS VILLAIN

IN THIS MOVIE AND NO

BEING ABLE TO DISTINGUISH

BETWEEN FACT AND FICTION.

HELLO. HOW ARE YOU?

HI, HOW ARE YOU?

HOW DO WE GET ON THE BOAT?

COME. BABY COME.

IT'S OKAY.

NO. WHAT ARE YOU DOING?

WE'RE GOING TO GO ON THE BOAT.

HE WANTS TO GO ON THE BOAT.

WE'RE GOING TO GIVE IT A TRY.

YOU GO FIRS AND THEN I'LL HAND...

NO, YOU GO FIRST AND I'LL

HAND BECKETT TO YOU.

GO FIRST.

[SPEAKS FOREIGN LANGUAGE]

THIS IS YOUR WIFE.

I'M FROM IRAN.

YES, BUT YOU--

YES. YES, WIFE.

[SPEAKS FOREIGN LANGUAGE]

YES! FROM NEW YORK.

[ZAHEDI]

SO, WE'RE MAKING A MOVIE.

DO YOU GUYS WANT TO BE IN IT?

[CHILD] YEAH.

THERE'S ALSO STORY STUFF.

I ALSO WANT TO...

[CHILDREN] YES.

SO, WE'LL SEE YOU

MAYBE TOMORROW NIGH OR THE NEXT NIGHT,

BUT WE'RE HERE ALL THE TIME,

AND WE'LL THINK OF A SCENE

FOR YOU GUYS TO ACT IN, OKAY?

OKAY.

THANK YOU VERY MUCH.

THANK YOU.

BYE-BYE.

SEE YOU GUYS.

BYE.

BYE.

WE DON' HAVE A MUSICAL SEQUENCE.

LIKE IN HOLLYWOOD

MUSICAL SEQUENCE?

YEAH, BUT LIKE MAYBE ARABIC.

[MIDDLE EASTERN]

THAT SEEMS:

LIKE A WHOLE PRODUCTION.

I KNOW.

I DON'T KNOW.

WELL...

YOU HAVE TO MAKE, LIKE,

CHOREOGRAPHY.

[CHUCKLES]

LIKE PROBABLY:

THE 13-YEAR OLD INDIAN GIRL

COULD TEACH ME, LIKE,

BOLLYWOOD CHOREOGRAPHY.

WELL, MAYBE

WITH THE INDIAN KIDS.

THEY COULD DO:

A BOLLYWOOD THING.

BUT WE COULD:

CHOREOGRAPH THE KIDS

DOING A MUSICAL NUMBER

AROUND SOCCER.

[WOMAN]

WE HAVE WAY TOO MANY THINGS.

I DON'T KNOW. MAYBE WE COULD

USE THE CALL TO PRAYER.

[MAN SINGING ADHAN]

[ZAHEDI CHANTS]

WELL, MAYBE I WOULDN'T BE VERY--

MAYBE IT WOULD BE MORE PRAY.

[ADHAN]

ACTUALLY, THAT'S A GOOD IDEA.

[MAN]

WHAT ABOUT LIKE YOU--

WHY DON'T WE USE

THE PRAYER CHOREOGRAPHY?

[MIDDLE EASTERN]

[MAN]

[WOMAN]

HOW MANY--

I DON'T KNOW.

IT PROBABLY IS.

READY, ONE, TWO THREE BOW.

I MEAN, THERE'S SOMETHING

SO CENTRAL ABOU THIS PRAYER HERE.

IT'S LIKE THE WHOLE CENTER

OF THIS PLACE,

IT'S LIKE FIVE TIMES A DAY,

EVERYBODY STOPS WHA THEY'RE DOING

AND THEY DO THIS PRAYER

WHICH IS RITUALIZED.

I MEAN, THIS IS WHAT ART DOES.

ART DOESN'T JUST BOW.

ART HAS A GAZE THAT HAS

COMPLEXITY AND DISTANCE,

RIGHT?

SO REALLY,

I THINK THAT'S WHAT--

THAT'S WHAT'S INTERESTING

TO DO.

THAT'S WHAT ART SHOULD DO.

IT SHOULDN'T JUST LIKE BE

ONLY REVERENT TO THE SACRED.

IT SHOULD ALSO, LIKE,

BE PLAYFUL WITH THE SACRED.

HIGH.

HIGH STEP.

HIGH.

HIGH STEP.

[REPEATING]

ACTION.

GOT IT?

YES.

OKAY. IT WAS GOOD.

THANK YOU.

[ZAHEDI]

BUT ANYWAY, SOME PEOPLE

WHO WERE IN THE COURTYARD

WHEN WE WERE SHOOTING

COMPLAINED TO THE SHARJAH

ART FOUNDATION:

THAT WE WERE NOT ACTING

SACREDLY TOWARDS PRAYER.

HE SAID THAT PEOPLE

ARE A LITTLE FREAKED OU

ABOUT ALL THE SHOOTING

AND PEOPLE ARE GETTING

WORRIED ABOUT IT,

AND HIS WIFE WAS WORRIED

ABOUT HIM LOSING HIS JOB

IF HE SAYS CERTAIN THINGS

THAT MAYBE AREN'T ORTHODOX.

LARA WAS WORRIED

ABOUT WHAT WE WERE DOING

WITH THIS FOOTAGE.

EVERYONE IS JUST PARANOID

AND, UM, HE JUST SAID--

HE SAID HE DOESN'T KNOW

WHERE THE LINES ARE HIMSELF

BECAUSE HE'S A GUEST HERE, BU

HE'S WORRIED THAT IF

WE'RE FILMING HIM

TALKING ABOUT ISLAM

AND MAYBE IT'S A DIFFERENT KIND

OF ISLAM THAN THEIR SHEIK'S

BRAND OF ISLAM,

THEN HE'LL BE LIKE OFFENDED,

AND HE'S GOT A GUEST VISA

FOR THREE MONTHS,

AND THEY COULD EASILY

NOT RENEW IT.

SO EVERYONE'S JUST LIKE...

WORRIED.

DO YOU GUYS KNOW HOW

TO DANCE AT ALL?

UM...

THERE'S NO A LOT OF DANCING...

[ZAHEDI]

AND SO, ZUZU ASKED THE WOMEN

WHO WORKED AT THE MUSEUM

IF THEY WOULD BE WILLING TO BE

IN OUR CHOREOGRAPHY SCENE,

AND THEY SAID, YES,

SO WE SCHEDULED A DAY

WHEN THEY ALL COULD DO IT.

AND SOMEHOW ALL THE WOMEN

CHANGED THEIR MINDS

OR THEY SAID THEY FORGO TO BRING THEIR BURQAS.

I DON'T KNOW,

THEY ALL HAD AN EXCUSE.

EXCEPT ONE WOMAN

WHO WAS EGYPTIAN.

APPARENTLY, EGYPTIANS

AREN'T AS UPTIGHT.

[ZAHEDI ON SET]

OKAY, LET'S TRY THIS

OKAY, GO.

RIGHT, RIGH LEFT, LEF

RIGHT, RIGHT.

LEFT, LEFT.

[REPEATING]

THAT LOOKS GOOD.

A LITTLE MORE, MICHAEL...

ZUZU'S GOOD.

[ZAHEDI]

YEAH, SO SHE WAS FINE

WITH THE CHOREOGRAPHY SCENE

BECAUSE THE OTHER ONES

WERE NOT,

AND I THINK:

THEY WERE GETTING UPSET.

WHEN THEY REALIZED

IT WAS LIKE WESTERN DANCING,

THEY LIKE GOT REALLY UPSET.

[ZAHEDI]

THEN TWO OF THEM WALKED

THROUGH OUR FRAME AND I THINK

THEY SAW WHAT WE WERE DOING

AND THEY TOLD THE OTHER ONES,

AND THE OTHER ONES

WERE LIKE REALLY MAD,

AND THEY BASICALLY

TOLD THE EGYPTIAN WOMAN

TO STOP DOING I:

AND THEY WERE MAD

AT HER AND I THINK

WERE WORRIED:

THAT SHE WAS GOING TO LOSE

HER JOB:

JUST FOR DANCING

IN OUR MOVIE SCENE.

IT'S THE THING I HATE MOS IN THE WORLD IS PEOPLE WHO TRY

TO LIKE GET IN THE

WAY OF MY FILMS,

BECAUSE MY FILMS ARE LIKE

THE MOST IMPORTANT THING TO ME.

I MEAN, MY SON IS MORE

IMPORTANT TO ME BUT OF THINGS

THAT ARE NOT PEOPLE,

FILMMAKING IS THE MOS IMPORTANT THING TO ME.

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