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Interview with producer Narek Nazaryan


Narek Nazaryan ( born November 16,1995 ) is an Armenian film Producer, Editor, Motion designer. Founder of DeFlick production company.  Narek Nazaryan began working with Arman Yeritsyan while a student, after he received his degree, he was as an assistant to Arman Yeritsyan In 2013 after that he founded his own production company and produced machinima short movies and in 2022 he produced first short film ( Au79)

  • A producer is a leader or a boss?

The producer is the main enemy of the creative team, because he agrees on the expense of money, filming locations, advertisers, often goes against his team in terms of reducing locations, budgets and rights to shoot a particular location, people, and therefore I believe that a producer can’t be a director at the same time, two leaders can’t lead together it’s place for a conflicts. Since the filming team it will treat the director as an enemy, which is’n good. But a good producer is always the boss, and the director is the leader, the producer should make sure that every member of the shooting group thinks about his work and is not distracted by external factors.

  • What qualities or attributes do you look for in people you are looking to employ or work with?

I don’t care about a person’s personal qualities, skin, accent, nationality, if he knows how to do his job better than anyone, I’ll take an actor as an example, if the director wants to shoot a scoundrel in his film, and the actor will actually be a scoundrel, a racist, a Nazi, then this should not affect what the viewer sees, another quality that you cannot do without is predictability in actions, punctuality and discipline, but these qualities can already be seen after you work with him.

  • What do you look for in a script?

First of all, I am interested in the conflict in the script, the details of the world where all this happens, I love reading scripts where the world is worked out and great attention is paid to details that will actually look like insignificant things in the frame, in fact, in any film, the most important thing is the script, whether you have a budget, the best specialists but a bad script, your budgets and experts will not save the film from collapse

  • How do you select a director?

The most important thing in a director for me is uniqueness and the ability to tell stories, to put it briefly, style is important

  • Would you recommend writers think like a producer when writing their script? Or, just write with reckless abandon and then worry about the cost, or whatever, after they’ve grabbed a producer’s attention.

You can find a budget for any project, the question is how much time you are willing to spend to find and how much money you need, so don’t think about money, let your producer think about it, how it will be filmed is the director’s concern, but be prepared for the fact that you will be asked to shorten, change, reformulate, it’s everything is normal.

  • How involved in the writing of a project do you get? Are you more involved in the initial development?

My participation can only be after calculating the budget, look, the director and the writer can write anything, for example, they write that person A pushes person B and he falls off the chips and breaks on the rocks at this moment, person A watches as B falls, we calculate the budget of this one scene is equal to half the budget of the whole movie, then I suggest instead of his fall to show the face of the one who pushed and against the background to adjust the sound, while you can save a lot of money, for this it is very important to know the work of the producer, director, cameraman, editor, visual effects, actors, in order to be able to act as efficiently as possible, I love one proverb, “Laws are violated by those who know these laws”

  • How much influence as a producer do you have with the choices made by the director and/or DP?

If I don’t understand, I don’t influence anything, I try not to touch anything as much as possible and give maximum creative freedom, but when the DOP begins to speak German words, anamorph, zeis, then I begin to wonder what exactly this technique is needed for if I want to sell a film on Netflix, National Geo. , HBO, there are no questions, they have a standard, but when the film is released on Vimeo, the meaning of such costs disappears from me, unless if they shoot fire or water, then the sharpness of the lens is really very important.

  • What is the most important thing you have learned during your career?

If I stop making mistakes, something goes wrong

  • If you had an unlimited budget at your disposal, what would be your dream production project?

I would start investing in films that reveal issues that I personally care about

  • What does the future of film look like?

I see the future of cinema in VR, where there will be cinemas of a new generation and there people will stand in VR glasses to watch a movie, smell smells, will be able to feel touch and cold, hot, damp and it will all be moderately interactive, but so far we are very far from such technologies.