---
title: 'The Story from the Beginning with Ghada Fathi | Exclusive Interview with Director Khaled Youssef'
source: 'https://youtube.com/watch?v=8QRxQD4yVj4'
video_id: '8QRxQD4yVj4'
date: 2026-08-05
duration_sec: 2997
---

# The Story from the Beginning with Ghada Fathi | Exclusive Interview with Director Khaled Youssef

> Source: [The Story from the Beginning with Ghada Fathi | Exclusive Interview with Director Khaled Youssef](https://youtube.com/watch?v=8QRxQD4yVj4)

## Summary

In this exclusive interview, Egyptian director Khaled Youssef shares personal stories behind photographs from his life, covering his childhood, his mentors, his career in cinema, and his political involvement. He reflects on the influences of his father, Khaled Mohieddin, and Youssef Chahine, and discusses the legacy of Arab intellectuals and artists.

### Key Points

- **Father's Influence** [02:09] — Khaled Youssef's father had the biggest influence on his life, having him at age 60-61, which led to excessive spoiling and affection. His father's biases towards the poor and Nasser's project shaped his worldview.
- **Mother's Strictness** [04:58] — His mother was the complete opposite of his father—decisive and firm. He saw only strictness from her, balancing his father's pampering.
- **Early School Years** [05:25] — He started first grade at age four, was taken to school by a guard, and cried when he couldn't write the number four. Being the mayor's son, he had special treatment and good relationships with classmates.
- **Photo with Ibn Rushd** [07:55] — A memorable photo taken in Cordoba with Professor Youssef Chahine during the filming of 'The Destiny'. They took pictures of each other by the statue of Ibn Rushd.
- **Edward Said's Significance** [08:35] — Edward Said is described as one of the most important intellectuals, a professor at Columbia University, and author of 'Orientalism', a seminal book of the 20th century.
- **Khaled Mohieddin as Second Father** [09:46] — Khaled Mohieddin was like a second father. His father handed him over at age 11, and he walked with him during the 1976 elections, shaping his political awareness towards socialism.
- **Discovery by Youssef Chahine** [12:35] — Youssef Chahine discovered Khaled's talent for visual storytelling, telling him he must become a filmmaker. Without this encounter, Khaled wouldn't have become a director.
- **Behind the Scenes of 'Chaos'** [14:14] — A story about a scene where Youssef Chahine, partially paralyzed, was carried up a crane to adjust the frame, showing his dedication and Khaled's respect for him.
- **Changing the Ending of 'Chaos'** [17:23] — Khaled changed the film's ending to reflect his own vision, making it more aligned with his style rather than Chahine's, showing his individuality as a director.
- **Cinematic Independence** [20:14] — Khaled's cinema has no relation to Chahine's because Chahine taught him to be himself, not to imitate. He expresses his own generation's worries and problems.
- **The Wave Scene** [22:06] — A comedic story about creating waves for a beach scene using a fire extinguisher on a boat, with Uncle Abbas directing the hose, resulting in a memorable and funny situation.
- **Ibn Rushd and Taha Hussein** [26:29] — These two figures are highlighted as pioneers of Arab enlightenment, whose ideas could have advanced the Arab nation but were persecuted instead.
- **Naguib Mahfouz and Al-Mutanabbi** [29:34] — Khaled considers Naguib Mahfouz the greatest writer of the 20th century and Al-Mutanabbi the greatest poet, noting their lasting influence on Arabic literature and proverbs.
- **Umm Kulthum as Egypt's Icon** [31:01] — Umm Kulthum is seen as the embodiment of Egypt, a unique talent that will never be replicated. Khaled argues every generation has its own greats.
- **Sherine as Current Treasure** [33:19] — Khaled calls Sherine the most important singer in Egypt now, emphasizing that feeling is more important than voice, and urges the state to protect her as a national treasure.
- **Evolution of Music** [35:36] — Changes in music are natural progress. Even Abdel Halim faced backlash initially. Festival music fulfills a need and will develop its own style.
- **Amr Diab vs. Mohamed Mounir** [37:13] — Khaled leans towards Mounir personally but acknowledges Amr Diab's miracle of staying at the top for 40 years, comparing him to Adel Imam.
- **Magdi Yacoub and Mohamed Ghoneim** [39:11] — Both are great scientists. Khaled shares stories from the Constitution Committee, including Magdi Yacoub's objection to smoking and Ghoneim's praise for Khaled's defense of social justice.
- **June 30th Revolution Photos** [42:18] — Photos from the plane during the revolution, including a special picture with pilots where both parties were equally happy, a rare occurrence.
- **Political Milestones** [43:33] — From student union president to participating in revolutions and the Committee of 50, Khaled's political journey is marked by mass support, as seen in the 2015 elections.
- **Skill in Crowd Management** [47:31] — Khaled's ability to manage crowds, honed from student leadership, impressed Youssef Chahine and translated into his filmmaking, especially in directing extras.

### Conclusion

Khaled Youssef's life story reveals a deep connection between his personal experiences, his mentors, and his artistic and political endeavors. His reflections underscore the importance of individual expression and the enduring impact of cultural and intellectual figures.

## Transcript

Today we won't be listening to an ordinary biography. Today we'll be going through a photo album, each Today we'll be going through a photo album, each photo with a story behind it, and each story a step in a photo with a story behind it, and each story a step in a long journey. A lasting impact, taught, supported, changed, and hurt.
long journey. A lasting impact, taught, supported, changed, and hurt. Each photo has a tale behind it, and each tale has a Each photo has a tale behind it, and each tale has a person behind it. These aren't just photos; these are photos that shaped a person. person behind it. These aren't just photos; these are photos that shaped a person. Today we'll hear the story of Khaled Youssef's photos,
from the beginning, with Ghada Fathi. [Music]
you think we should start with this part, like the story in these photos, or should we story in these photos, or should we start there with the greats, with Taha Hussein, start there with the greats, with Taha Hussein, or where should we start? I don't know where to begin.
We could start from here, or from here, or from here. Well, I'll suggest a solution, ma'am. Let's start from the top and then go down here to continue the story about these personalities, how they
We need a week, yes, exactly, we yes, exactly, we need a week to film the start from Kafr Shukr and talk about the sweet childhood and about your father and mother.
My father, first of all, had the biggest influence on my life because he had me when he was because he had me when he was 60 or 61 years old, so I was 60 or 61 years old, so I was his youngest child. And he had many children, he married seven at a time.
his youngest child. And he had many children, he married seven at a time. By the way, this wasn't strange in his time. In his time, wealth, power, and health meant time, wealth, power, and health meant multiple marriages. All his friends and peers were
married to more than one woman. Do you agree? No, I don't agree. reality at the time. So I was his youngest child, and apparently, this is what I understood when I grew up: that he was aware he wouldn't live long enough. He had a
child when he was 60 or 61 years old. How many years would he live for him, even if he did? 15 or 20 years, mother, so he intensified his efforts with me completely. He gave me affection, I call it
even excessive affection, not just affection, an exaggerated form of affection, but spoiling, I mean, terrible spoiling. First of all,
responsible person? Responsible in the sense of not being responsible in the government, I mean responsible for someone who yes, a man with responsibility, yes. So how did he manage to do that? I swear to God, even to this moment, I can't
discover his secret. How did he make it so that if anyone, even my own mother, couldn't yell at me?
the country, if she gets angry, she goes to her family's house, and the men come to make amends, and he says to them, "Who is she to hit our son?" yes, the matter reached that point.
that? No, no, I was special, really. People would tell him, "Hey, Mayor, shame on you! This is a mother!" I mean, what's she got to do with it? You're changing the subject again. "She's a
girl!" [Laughs] "Who is she to hit the son of a lifetime?" This kind of upbringing is really ruined, really ruined. But he managed to do this with a mother and at the same time same time raise me and educate me. Then, after that, I grew up with him.
All his biases towards the poor, the marginalized, and the simple folk, the simple folk, even Nasser's project itself and his bias towards even Nasser's project itself and his bias towards Nasser, that also affected me. It made me influenced by this. I
Nasser, that also affected me. It made me influenced by this. I mean, my father, I mean, the one who influenced me the most in mean, my father, I mean, the one who influenced me the most in my life. My mother was a very, very responsible woman, and she was n't into that kind of pampering at all. She was the
complete opposite of him, decisive and firm and things like that. So, I never saw anything from her but strictness. My mother, may God have mercy on her, too. So, of course, they had the
biggest influence, my father, then my mother. So, my mother, okay, and the mayor's son, then... mayor's son was [laughs] spoiled, I mean, what did he do with his friends at school? He was controlling, and you were taking advantage of your father's position and all that. You were
really spoiled, and I mean, first of all, I went to first grade when I was four years old. That's one of the things that got me into school. I was in fourth grade when I was four years old. I went to first grade, so of course I was very young. The
guard would take me to school. And then, when I went in, I remember the first day of school, I wrote one, two, three, and when I got to four, I cried. I couldn't write four [laughs]. So four, I cried. I couldn't write four [laughs]. So when I cried, the teacher got flustered and ran out to call the
when I cried, the teacher got flustered and ran out to call the guard. He took Khaled and cried. told you, your classmates were jealous of you. No, they loved me very much because I was the mayor's son among them. But I loved them very much, and I had
very good relationships with everyone in that generation, that generation of children. And you, when you were little, what were you like?  So, I'm the mayor's son, I'm good-looking, and my dad's the mayor, so they loved you. That was a really nice generation. No, it wasn't like that at all. I
good relationships with them, and many of them are still around. They'll watch the show and they'll be able to answer me and say, "No, we didn't love you." No, there was a lot of affection between us. took advantage of any situation while I was at school. I'm a kid that age, at all. In any fight with my
friends, in anything, there were no fights. No, I did take advantage, of course. We definitely had one situation. I mean, once I was joking around with a friend during recess, and he cut my finger. recess, and he cut my finger.
We call it a "jaz'a" in our village, so he got a "jaz'a"
teacher did this to me with a ruler.  Something trivial, I mean, so he went and made a huge fuss and went to the school and took them from the gate all the way to the
took them from the gate all the way to the headmaster. May God forgive what he did to them! He went into the children—who are us, the children in the class—and said, "How could you let this teacher hit Khaled?" He was blaming the children. [Laughs] Not just blaming them, of
course there was exploitation of their feelings. Yes, there was. Well, that's a very important correction. that's a very important correction. Okay, let's continue.
no. And you forgot this picture? I'm pictured with Ibn Rushd in the 12th century. I was born in the 12th century, about [Laughs] 800 years ago. When I went to Cordoba with Professor Youssef, I also can't forget this picture. It holds a
memory for me. We were doing props for the film "The Destiny" and we went to the statue of Ibn Rushd. I took this picture and Professor Youssef took the same picture. He took my picture and I took his, so he didn't forget this picture. So, I  You see here, Professor Youssef Chahine is very,
very happy with you in the picture, he is very happy with you, he is very happy with his son. He was happy here because Edward Said is one of the most important intellectuals in the history of mankind, by the way. We don't want to tell people that
by the way. We don't want to tell people that Edward Said is a scholar, a professor at Columbia University. He is originally an Arab Palestinian, and a professor at Columbia University. He wrote one of the most important books of the 20th century, which is Orientalism.
Orientalism. All scholars who want to approach Orientalism must refer to him.   Edward Said, Edward Said's issues and Said's issues and the nature of his language are very strong, and his ideas are very profound.
Almost half of the intellectuals don't understand them. I mean, because of how eloquent his language is, and his words are so profound. because of how eloquent his language is, and his words are so profound.
at that time, and he found me talking to him about Orientalism, having read his book and understood it, and discussing it with him and telling him what I liked, he was very happy with his son, meaning that he was able to reach a great level of value. If we look at the picture of Professor Youssef Chahine, I mean, really,
at the picture of Professor Youssef Chahine, I mean, really, someone who is very happy with his son, it's very clear in the picture. And this, of course, there is still a relationship between you and Youssef Chahine that we will talk about. Khaled Khaled Mohieddin is like a second father to me after my father. They were
friends, they were friends, and my father handed me over to Khaled Mohieddin when I was 11 years old and said to him, "Here is the boy I named after you." They were close  From some of the strong ones, yes, so he named me after Khaled Mohi El-Din and
handed me over to him when I was 11 years old. He held my hand. At that time, my father was sick. My father was the mayor, so he was supposed to walk around the town with him. It was the 1976 elections. So when he couldn't walk with him,
I walked with him. I was an 11-year-old child, the mayor's son, so it was a symbol that the mayor was walking with him, but he was sick. So I held his hand and we walked around the town, greeting people and all that, an election tour.
You'll even see in our pictures, look at this picture, you'll see him sitting next to me holding my hand. Yes, that was his influenced by him politically, you were influenced by
him politically, and humanly, because he raised me politically, biased towards the poor class. Khaled Mohieddin was always a socialist. He's the father of the Arab left in general, one of the Arab left in general, one of the pioneers who founded it, and
pioneers who founded it, and all the existing socialist parties branched out from it. This shaped my political awareness a bit and opened up avenues of knowledge for me. I mean, I was 10, 11, 1, and 13 years old, and I used to run around playing in the Tagammu Party,
sitting on the lap of Ismail Sabry Abdullah and Fouad Morsi. When I later found out who they were, I was shocked at myself for playing in front of them so casually. I heard discussions that were ahead of
my age, and that's what opened my eyes to these things. I heard about dialectical materialism, the contradiction of heard about dialectical materialism, the contradiction of opposites, the dialectic of matter, and the class struggle—the things that are the thought of Marx and Hegel and Marxism. I heard them when I was
Hegel and Marxism. I heard them when I was very young, and I was passionate about them. When I grew up a bit, I started reading, and that opened up broad avenues of knowledge for me. I became acquainted with the thought.  The political and humanitarian aspect in general, through Khaled, through
Youssef Chahine, and one of the most important milestones in Youssef Chahine's life in important milestones in Youssef Chahine's life in Khaled Youssef's life. Sorry [laughs] because I consider it also an important stage for Youssef Chahine. Keep in mind, the
Chahine. He changed my life because I wasn't thinking about directing at all. I was because I wasn't thinking about directing at all. I was thinking about politics and how we would make the revolution and liberate [laughs] Palestine. He was the one who told me, "You are talented and
Palestine. He was the one who told me, "You are talented and you have the ability to tell visual stories." So I met him. I was the head of the student union at the university, and I went to him so he could do a seminar at my university. He went to him so he could do a seminar at my university. He said to me, "Who are you?" meaning, "Introduce yourself." So I
said to me, "Who are you?" meaning, "Introduce yourself." So I started to introduce myself to him, and while I was telling him, the summary of the story came out. He wasn't interested in everything I said, but what mattered to him was that I knew how to tell visual stories. So he was the one who told me, "You are talented and you must become a filmmaker." If I hadn't met Youssef  I wouldn't have become a director at
all because I wasn't searching, I wasn't even thinking about it. So, of course, he was the most important figure because, after God, if it weren't for Youssef Chahine, I wouldn't have become a director at all. become a director at all. Someone else would have searched to find their own way around
directing, so even if they hadn't met Youssef Chahine, they would have met someone else and worked as an assistant, and that would have been possible. would have met someone else and worked as an assistant, and that would have been possible. But I wasn't searching, I didn't want to, I wasn't even thinking about it. So, he's the
work in film, I wouldn't have. So, his credit doesn't just go to teaching me, mentoring me, or me credit doesn't just go to teaching me, mentoring me, or me learning from him. His credit goes to discovering the very myself. These pictures are from a collection of many films. So,
we want to see, for example, the story behind this picture. The story behind this picture... Mr. Youssef... this was chaos. He was starting to get
his arm.  His leg was so we were supporting him as he walked. I was adjusting the crane, sitting on the camera above, while he was sitting on the monitor below. He was present that day,
monitor below. He was present that day, not every day. While he was sitting, I was telling Hassan Gad, "Come up, move right and left, adjust the frame, adjust the camera mise-en-scène and the crowd mise-en-scène, which is the scene of the
crowd storming the building. It was a very big scene." So, while I was very big scene." So, while I was until I was saying exactly, my
until I was saying exactly, my eyes met his, and I saw Youssef Chahine's eyes Oh, how the frame, yet how much pain he felt because he couldn't go up and adjust the
frame himself. He had a partial or partial paralysis in his arm and leg, and this is a crane that we use to go up high and all that. So, I immediately arm and leg, and this is a crane that we use to go up high and all that. So, I immediately
told Hassan, "Let me down, I can't adjust the frame." So Hassan let me down, and the framing when I realized there was something I couldn't do. He said, "What? Are you kidding? I can't move!" I told him, "No, I'll carry you. Hassan and I will." So Hassan and I carried him, put him down, and got him a
harness like the seatbelt they use on airplanes. I wrapped it around the seat and didn't trust anyone else to go up with him. I went up with him, and he went up the crane. I started telling him what we were going to do, and he said, "Yes, by God!" So, to some extent, I
involved him in determining the framing and the mise-en- scène. He came down happy, then sat at the scène. He came down happy, then sat at the monitor, and I went up again. I adjusted it with Hassan Jad, and we did the shot. It was a very long one-shot because he had the camera showing the crowd from outside, and the camera kept moving
backwards as they entered and stormed the building. The camera kept moving backwards until it reached the building's entrance from the inside. Then the camera moved back again as the soldiers closed the doors. There were crowds in the foreground, and the background was the
doors. There were crowds in the foreground, and the background was the crowd.  So, what about Nour, who is Menna Shalaby, Nour, who is Menna Shalaby, Youssef, Madame Hala, and the whole group—
Youssef, Madame Hala, and the whole group— the film's stars? We worked on the scene, and it worked perfectly. When you're creating a mise-en-scène, combining camera movement with the group's movements takes a very long time, requiring extensive rehearsals. When we started filming, thank God, we did it. The
action was perfect, the mise-en-scène was perfect, and the audience performed the movements we had trained them on, so the scene worked perfectly. There was incredible harmony on the set audience performed the movements we had trained them on, so the scene worked perfectly. There was incredible harmony on the set
composition, and the cadence. Then, I in his arms. That's the story behind this picture. since we're talking about "Chaos," you actually changed the film's ending.
I had a finale, and after I finished it, I discovered that it actually belonged to Khaled Youssef, not Youssef Chahine. I had Youssef Chahine, not myself. So, I
running from people. What happened in the movie, what people saw, was that he runs inside the building, taking refuge with the people, the officers, and the soldiers. The head of investigations and the police chief actually come out to defend him, hug him, and take him upstairs. In the end, he pulls out a
upstairs. In the end, he pulls out a gun and commits suicide. That's what people saw. Now, I made a different final scene. I made it where he comes running and different final scene. I made it where he comes running and finds a police van in front of the building, so he takes refuge in
finds a police van in front of the building, so he takes refuge in it. People gather around the van, and the officer, who is the head of investigations, who is Amr Abdel-Girly, who is Ahmed Fouad Selim, who is the police chief, tries to defend him so the people don't storm the van. But the people push them, they get pushed
Okay, [snoring sounds]. The soldier standing at the door sees soldier standing at the door sees people pushing and shoving him, things like they're going to kill him, people pushing and shoving him, things like they're going to kill him, so he locks the door to protect them and
runs away from the...  The crowd surged forward, trying to hit him, so the car remained locked. People started pushing the car, pushing it, pushing it until it tipped over. Then the pushing the car, pushing it, pushing it until it tipped over. Then the
Maher Essam, who had stolen the photo, set the gasoline on fire, causing the car to explode. I had cleverly positioned the police van on top of the explosion, surrounded by crowds of people. The
film ends with this point of flame in the center of the circle. After everything was ready, I the center of the circle. After everything was ready, I realized that this was Khaled Youssef, not Youssef Chahine. So, I was careful to try to make it
Khaled Youssef, even in the things I did. I wanted to influenced by the idea of ​​Ayana, the guy from Bab El Hadid, who had guy from Bab El Hadid, who had sexual obsessions with Hind Rostom and things like that. And Khaled
Saleh also represents Ayana in some ways, in some aspects of his personality, so I made it more like that.  With in some aspects of his personality, so I made it more like that.  With the story of suicide and the story of "I'm sad that I'm going to die and won't see the light again,"
this became the closest thing to Youssef Chahine. So, speaking of Youssef Chahine's films, speaking of Youssef Chahine's films, why do most people see them as why do most people see them as completely different from their own films, or that the world is
different here, and that they were so influenced by him? Many people from Youssef Chahine's audience said that there are many things they don't understand. Well, these are two yes, two questions, one for two souls,
yes, exactly. So, my cinema has nothing to do with Youssef Chahine's cinema, that's nothing to do with Youssef Chahine's cinema, that's 100% true. Because when Youssef Chahine taught me, he taught me to be myself, to be me. You learn the fundamentals of this craft
to express yourself, not to express me, not to imitate me. So, I express myself, my worries, the worries of my generation, our problems, not his generation or his personality. That's why...
You'll find that my cinema has no relation to Youssef Chahine's cinema. That's the first question. The second question is about the people who say that Youssef Chahine's films are incomprehensible. I tell them to ignore the Youssef Chahine's films are incomprehensible. I tell them to ignore the four or five films out of his
40 that are incomprehensible and look at the rest of his cinema. He has 35 films that are understandable, meaning he has three or four films that people think were different. In those four, no, the vision in those films was a bit
no, the vision in those films was a bit complex and convoluted, so it wasn't a smooth narrative, so the story didn't reach the people. And keep in mind that cinema is known as a visual story. A story means to entertain, and visual means to provide visual enjoyment. So
might not reach the people, and they'll say that his cinema is incomprehensible. But the truth is that at most, there are three, four, or five films in his entire career that could be described as incomprehensible to the general public. entire career that could be described as incomprehensible to the general public.
Okay, but the rest of his films are understandable, like "Enta Habibi" (You Are My Love), "Al-Nasr Salah El-Din" (Saladin's Victory), "Al-Ard" (The Land), and all those films.  Conflict in the Valley, or rather, our film, all these films are understandable, rather, our film, all these films are understandable, very understandable, even the recent ones like The
Other Destiny, Alexandria, New York. All these films are very understandable if someone has seen them. But the reputation that has come out about him, that his films are not understandable, has made some people not accept his films. Oh, okay, I know that this picture has a context, right? It's a comedic context.
Yes, I mean, this particular picture, we were standing, we were standing, we were standing, we were standing, he had a scene on the beach with the hero and he had a scene on the beach with the hero and
hitting the rocks, making splashing. We all saw that splashing, the waves hitting the rocks and making that. So when we were saw that splashing, the waves hitting the rocks and making that. So when we were looking, we saw the rocks hitting, the water hitting the rocks, the waves hitting the rocks and splashing. When we went to film, he put it in his mind
as a picture that he would do it like that, meaning the hero and heroine would sit there with the water hitting and splashing. When we went to film, the sea was very calm.  He was very calm, there was no [laughter] above. He stomped on the ground like a child and said, "I want waves, get me a wave!" So, of course, everyone stood there,
not understanding what he meant by "I want waves." We were going to make him a sea and waves, how? He said, "I want waves, I won't take pictures without waves!" So, that immediately meant that we should film, and we'd go and come back the next that we should film, and we'd go and come back the next day knowing there would be waves. So, I
told him, "Okay, sir, we'll get you the waves." But I didn't know where to get them. I took Uncle Abbas aside to give him a gift while I thought about it. I told him, "Okay, we'll get you the waves, sir." I walked over to Uncle Abbas.
Uncle Abbas Saber was next to me; he's one of the giants of the industry. I said to him, "What's up, Uncle Abbas?" He said, "Look, sir, I can make you waves, but you have to give me at least an hour or two." I said, "What are you going to do?" He but you have to give me at least an hour or two." I said, "What are you going to do?" He said, "I'll get a fire extinguisher
and put it in a boat in the sea. The fire extinguisher 's hose is the nozzle."  That one with the powerful jets, we'll activate it and it'll hit the rock with water, and the waves will come out while he's filming
from the other side. We won't be visible, and the waves will splash the hero and heroine. I told him, " God bless you, Uncle Abbas, you saved me!" [laughter] So, you really think you can do it? He said, "I can!" I told the director, "We'll film several shots, like a few combs, until I get you the waves." He didn't tell me
why, he didn't tell me how, or why I didn't tell him how he was going to get the waves. It seems that Abbas, Uncle Abbas, has a lot of experience in So, he said, "I want the waves, and I know the idea, and
said, "I want the waves, and I know the idea, and yes, he'll create waves." So, he said, "Okay." So, we filmed other shots besides this one until Uncle Abbas was ready. And then, in this shot, my dear, this is the comedic situation: Osama Hussein, who
is the propsman, is the one standing  With the water pump inside, Uncle Abbas is standing outside on the beach. Me, him, and Professor Youssef are of course, is standing on a boat, so it's not stable.
The hose is very heavy. The water, when you hold it, is enough for you. It might even cover your face because of its weight. So he can't control himself well because he's standing on a boat that's shaking, and at the same time he's holding the hose and trying to
direct it towards the rock that's supposed to splash. So every time he splash. So Uncle Abbas is standing there, what does he say to him?  A little to the right, Uncle Abbas is standing there, what does he say to him?  A little to the right, a little to the left, a little to the right, a little up, a little... not in my face,
you son of a... [laughs] He said the water... he brought it up, we all splashed it, the three of us almost flipped onto our backs, and Uncle Abbas kept going, meaning he Abbas kept going, meaning he made his face with his hand like that and told him, "A little to the right, a little to the left," and
he continued normally as if he hadn't flipped onto his back at all. So this is a situation I will never forget. Anyway, Professor Youssef was happy. Yes, we brought him the wave. Yes, you did it. Of course, if we were to
n't finish. Is there anything specific you want to say before we leave anything specific you want to say before we leave this corner and move to another one? I
I'll continue below when we go to the rest of the directors and tell you the difference between me and the other directors. Okay, let's and tell you the difference between me and the other directors. Okay, let's go.
Professor Khaled, now we are in the corner where Taha Hussein is with Ibn Rushd. Okay, why together? Because these are the two who are in the history of
Because these are the two who are in the history of Arab thought, who...  You could say that if we had followed their ideas, the entire Arab nation would be in a different place. for its entire modern renaissance. Europe emerged from the Middle Ages and relied on Ibn Rushd's commentaries on
Aristotle to progress. They separated religion from the state and to progress. They separated religion from the state and established the freedoms Ibn Rushd discussed in his commentaries on Aristotle. Europe progressed thanks to Ibn Rushd's books. We
Europe progressed thanks to Ibn Rushd's books. We burned his books, persecuted him, and called him a heretic. The same thing happened with Taha Hussein. He wrote a book on pre- Islamic literature and the future of culture in Egypt. He Islamic literature and the future of culture in Egypt. He had intellectual visions that could have propelled the Arab nation forward by leaps and bounds. We persecuted him too and
had intellectual visions that could have propelled the Arab nation forward by leaps and bounds. We persecuted him too and put him on trial. put him on trial. These two figures, in the history of thought—and this isn't an exhaustive list, but an example—are the two
great figures in the history of enlightened Arab thought. They were true pioneers of enlightenment. Do you think they can influence future generations, or is it too late?  Actually, she wouldn't be interested in knowing this stuff. That's
not true. First of all, we always say that every generation is ignorant. They used to call the generations before me trivial and irrelevant.
Then, at certain moments, you discover that the generation is very aware and understanding. When are those certain moments? You see the youth today? They're not interested at all, just like we were. Even our generation was a society where nations always go through periods like that;
the curve goes down and up again. But all generations... I think intellectual giants like Taha Hussein and Ibn Rushd remain as long as time itself. They will continue to influence generations upon generations upon generations, just as they
influenced my generation. I'm more than 800 years away from Ibn Rushd, for example, and but they influenced my generation, and I think they will influence the generations after me and the generations after that.
This generation also didn't have social media in this form, nor the openness we have now. People now consider social media the most important thing, with all the videos they post, TikTok, and so on. So, I don't feel that this percentage might be a little low,
percentage might be a little low, or even low, because these generations were born and lived through the communications revolution. Social media relies a bit on headlines; they don't Social media relies a bit on headlines; they don't go and read books, that's true. But you'll still find some
brilliant minds in these generations who go from the headlines to the content. The content, I mean the thought of Ibn Rushd or Taha Hussein or others.
Okay, Professor Khaled, let's look at this together. I also see Naguib Mahfouz and Al- Mutanabbi. I think that... I'm telling
why I'm mentioning them together. I'll tell you why I'm mentioning them together. I'll tell you because he is the greatest writer in the history of Arabic literature. As for Al- Mutanabbi, I...  My opinion is that the greatest writer of the
I...  My opinion is that the greatest writer of the 20th century was Naguib Mahfouz. They are the two greats in my opinion, meaning, of course, Al-Mutanabbi. As for the new generation you want to talk about, they might not even comb their hair, but half of what
we say in proverbs is from Al-Mutanabbi. For example, "The winds blow contrary to what the ships desire" (Al-Mutanabbi). There are winds blow contrary to what the ships desire" (Al-Mutanabbi). There are many proverbs like " Your Lord is ever watchful" (Quran), and "You will find relief from evil" (Al-Mutanabbi). You'll find half of our proverbs are
relief from evil" (Al-Mutanabbi). You'll find half of our proverbs are from the Quran and half of the proverbs we use are from Al- from the Quran and half of the proverbs we use are from Al- Mutanabbi's poetry. Al-Mutanabbi is the most influential figure in the history of Arabic literature and the greatest poet in the entire history of Arabic music. And Naguib Mahfouz is the greatest
Arabic literature. So, these two have a special place in his heart. Now, let's talk about
Tell me about Umm Kulthum. I think if we had to choose one figure from the entire 20th century to represent Egypt, it would be Umm Kulthum.
could say Gamal Abdel Nasser alongside her, but the person who truly embodies the Egyptian character and represents Egypt, and whom I could say is Umm Kulthum instead of Egypt itself, is Umm Kulthum.
Kulthum instead of Egypt itself, is Umm Kulthum. I grew up listening to Umm Kulthum's songs, I loved Umm Kulthum's songs, I enjoyed Umm Kulthum's songs throughout Umm Kulthum's songs, I enjoyed Umm Kulthum's songs throughout my life, in every stage of my life, with all her composers,
my life, in every stage of my life, with all her composers, from the very beginning, like Abu El Aal Mohamed, El Asbaji, and Zakaria Ahmed, then Riad El Sonbati, then Ahmed, then Riad El Sonbati, then Abdel Wahab, then Baligh Hamdi. She embraced new
composers, she renewed her songs with them, she embraced Baligh Hamdi, she embraced El Mougy, and even Sayed Metkawy Baligh Hamdi, she embraced El Mougy, and even Sayed Metkawy composed a song for her. Ultimately, the greatest artistic treasure we can boast about to the whole world was Umm Kulthum. I
believe she will never be replicated, a talent that will never be repeated. She certainly won't be replicated, but I'm always against that She certainly won't be replicated, but I'm always against that statement. Even Abdel Halim Hafez is irreplaceable. Every generation has its own creators.  The greats are always a matter of the environment; it's what makes
or doesn't make a name for themselves. I'm certain that, as we speak, there are ten Abdel Halims and ten Abu Kulthums in Egypt. But perhaps there isn't an Abu El-Aila Mohamed who would travel all over Egypt until he found a village
Egypt until he found a village called Tamayza Zahira and took a simple peasant girl from there and made her the queen of Arabic song. exist. But the other Umm Kulthum exists. In my opinion, there isn't a generation devoid of
You're saying that every generation has its greats, and you think that no one from Not at all, of course. Not even Sherine Abdel Wahab. but not Kulthum. No one can say that anyone from this generation is
close to Kulthum. They're all far from it. But Sherine is a very big story, a very, very Sherine or Angham? Definitely Sherine. this is a very important statement, or not, it's Sherine who is the most important
Sherine who is the most important because she is the most important singer in Egypt right now. She has because she is the most important singer in Egypt right now. She has the feeling; no one else has that feeling.
like Amal Maher. Listen to Amal Maher, for example, when she sings "Ma Tesabernish" and listen to Sherine when she sings " Ma Tesabernish." Amal's voice is more important, by the way, and she sings better than Sherine,
but the one who touches your heart is Sherine. You'll notice that the Egyptian people are the only people who link voice and feeling. They say, "What's your feeling?"
right? [Clears throat] "Feeling" means your feeling. So voice is synonymous with feeling. For example, Abdel Halim wasn't the greatest voice of his time; there were Karam Mahmoud and Abdel Aziz Mahmoud. There were voices more important than him in terms of quality, but he had the most important feeling of his era. That's why
Abdel Halim Hafez became Sherine. The same thing applies to Sherine.  There are voices more important than her, but Sherine will always be the most important because she connects with Feeling is a million times more important than the voice. That does n't mean you can just bring me
any voice, even a weak one. Her voice isn't weak. I'm saying there are voices that might be stronger than hers, but her feeling... I mean, she's the most important in terms of feeling in the want to say to her? What do you want to tell Sherine? Come back, please come back. We have no one but you. We have no one but you. We
What do you want to tell Sherine? Come back, please come back. We have no one but you. We have no one but you. We really can say she's really can say she's something big. I'm truly saddened something big. I'm truly saddened when Sherine faces any crises because Sherine must be
protected. And I'll tell you something that might get me attacked: she's a national treasure. The state must pay attention and see how Sherine can be treated, how she can get out of her troubles, and how she can stand
Sherine can be treated, how she can get out of her troubles, and how she can stand on stage again. This is a responsibility. In my opinion, if the state realized the importance of Sherine's voice to Egypt's soft power...  Because of her immense influence on the Arab consciousness and the Arab world, Sherine is one of the most important people we must protect. If she
has problems, we must help her overcome them. She's the one who needs to hear this. She'll jump up and get better immediately. [Laughter] Thank you. So, you see, in the music scene now, since we're talking about Umm Kulthum, do
talking about Umm Kulthum, do you see that the nature of the songs has changed, the lyrics have changed, and the melodies have changed? Do you see this as progress or a step backward? No, this is natural progress. Even Abdel Halim Hafez, when he sang his first song, people threw tomatoes at him and
insulted him because he clashed with people's sensibilities and what they were used to from the previous era. This happened in every generation. It happened with Amr Diab, it happened with everyone. With every new wave,
with everyone. With every new wave, whether it's a wave that will establish great art or even a whether it's a wave that will establish great art or even a trivial one, it has to be attacked because it clashes with what people listen to. But any
art that people accept should people accept should n't be dismissed.  Festival music, I'm n't be dismissed.  Festival music, I'm not one of those people who like it at all and I don't listen to it,
but it fulfills a need for a wide segment of the audience. You have to listen and respect the taste of these audiences, not look down on them and say, "What is this nonsense?" No, this
type of festival music, as long as it fulfills a need for the audience, believe me, it will develop and need for the audience, believe me, it will develop and create its own style, like Hamid El
Shaeri's music when he created a new wave, which was the Amr Diab wave and its impact at that time. People were very annoyed by it, but after a while, it established itself, and now Amr is here, and there are very big names with him. And after him, Amr Diab or Mohamed Mounir?
First of all, both of them are very close friends of mine, so you're embarrassing me, you're embarrassing me, but but I'm a little inclined, not inclined, inclined [laughs], like, I'm a I'm a little inclined, not inclined, inclined [laughs], like, I'm a
little inclined towards Mounir because he's part of my makeup. I mean, I'm a product of Mounir's national experience. As for Mounir, he's a little mean, I'm a product of Mounir's national experience. As for Mounir, he's a little far from me in terms of taste. I'm in another league when it comes to art.
But without a doubt, without a doubt, Amr Diab  It means one of the miracles Why?
That's true, or 40 years so we don't exaggerate. About 40 years he's been sitting at the top, untouched by anyone who competes with him, who gives him a little push, like Tamer, Hamai, but he remains firmly in his place. That's a miracle. Like Adel
Yes, he's there. Then a new wave comes along and gives him a push, like the wave of Imam a push and he left, and they achieved higher levels than him, and Adel Imam still sat back
after a short while. So, in my opinion, both Adel and Amr are miracles in the history of art, regardless of artistic merit. Artistic merit
regardless of artistic merit. Artistic merit is another story. I'm talking about the miracle of them being stable at the top for 40 or 50 years, unchallenged and untouched.
Here, [music] Professor Khaled, then  We see Magdi Yacoub and Mohamed Ghoneim. I don't know what Faten Hamama's picture is doing here, but anyway, could you tell us how this mix works? could you tell us how this mix works? Mohamed Ghoneim and Magdi Yacoub are both great scientists,
of course, everyone knows them. Mohamed Ghoneim is a pioneer in kidney transplantation, and Magdi Yacoub is, of course, the famous professor of cardiology, the world-renowned professor. I famous professor of cardiology, the world-renowned professor. I met Magdi Yacoub in the
Constitution Committee. He was one of the 50 members who drafted the Egyptian constitution, and I have some funny stories about him. I asked to smoke cigarettes [snoring sounds] in the committee, and he strongly objected [laughter]. He
said, "We have to write in the constitution that the state is obligated to do this and that, because the constitution is about the rights of citizens. So, you'll always find in every article of the constitution that the state is obligated
to do this and that, but there's no mention of the citizen being obligated to do that." He said, "We have to write an article in the constitution that the citizen is obligated to maintain his health and not drink alcohol." Cigarettes [laughter] Hamad Ghanneen, that means [snoring sounds] one of my
Hamad Ghanneen, that means [snoring sounds] one of my great, inspiring spiritual fathers, I mean, inspiring, inspiring, I mean, his
talk, I could really talk about him for hours. He honored me by mentioning in his memoirs recently that I received the greatest award I've ever received, that he wrote about me in his memoirs, how I was a
staunch defender of social justice in the Constitutional Committee, how I contributed to drafting specific articles related to preserving the rights of ordinary people. I knew Professor Khaled Youssef closely in 1950 and
I knew Professor Khaled Youssef closely in 1950 and found him to be a strong and fierce defender in the field of economic and social rights, in the field of pre-university education, university education, health, and last but not least, the issue of
university education, health, and last but not least, the issue of progressive taxation. I affirm progressive taxation. I affirm that Egypt will be very fortunate that Egypt will be very fortunate
next parliament. He is one of the closest people to my heart, and I mean, every time he closest people to my heart, and I mean, every time he comes to Cairo, I see him. I mean, what is this picture of the pigeon doing here?  There was
Mr. Khaled. Every corner here is special [music]. I mean, what caught my attention here in the June 30th corner is the mean, what caught my attention here in the June 30th corner is the
June 30th corner. Now, we want you to explain to us what this "Sur Collection" means. These are pictures of the plane when I was photographing the June 30th revolution. This is inside the plane, and this is inside the plane, me, the photographer Sameh Selim, Hassan Gad, and Colonel [name omitted]. And planes, and this is a picture of the pilots. This is a very special picture in my personal life. Why is that? Because usually, when someone takes a picture with another person, one
of them is happier. When I take a picture with Naguib Mahfouz, right? I'm definitely happier than him. Or maybe the matters a lot to me because I'm taking a picture with Naguib Mahfouz, right? So,
in any picture, one person is always happier than the other. This picture has two people, both happy. They asked to take a picture with me, and I wanted to take a picture with them.
happy that we took a picture together. They asked to take the picture, and if they hadn't asked, I would have asked to take a picture with them. So, this is a very special picture. You won't find in all the pictures I have in my life that I'm the happier one, or that the person I'm taking the picture with is the
happier one. But in this one, both are happier. But in this one, both are happier. This one, of course, is with President Adly Mansour when the Committee of 50 was formed, when I was one of them.  50 Egyptians drafted the country's constitution in 2013 or late
2013-2014. This is a picture from the This is a picture from the 2015 elections when I ran for parliament. These pictures were taken from the public square because the procession that was organized for me to
submit my candidacy papers—this wasn't a success parade, by the way. I mean, not on the day of victory when people are gathered celebrating. No, this was the procession where more than 10,000 citizens
came out to submit my papers. The Cairo road, was completely blocked. Three governors were talking to my brother, who is Muslim. There were [snoring sounds] at the time. The Assistant Minister of the Interior said, "Hey, Abu Muslim, tell
your brother to finish this thing. The whole road is blocked." Tens of thousands of people were saying that on the main road, they were submitting Tens of thousands of people were saying that on the main road, they were submitting my candidacy papers. So I submitted my candidacy and I was already a winner because the number of people who were there was enough for me if I just got their votes.  So,
there was enough for me if I just got their votes.  So, speaking of the political corner we're discussing. I've noticed that every stage of I've noticed that every stage of your life had its political milestones, from when you were
your life had its political milestones, from when you were president of the university student union, then participating in the January 25th Revolution, then the June 30th Committee of 50, then the presidential campaign, and then becoming a member of parliament for Kafr Shukr. I want you to tell me about all these milestones, what's the
story? After that, you completely stopped being involved in politics and even refrained from participating in anything. Look, as I told you, I came from a political family, raised by a great
Look, as I told you, I came from a political family, raised by a great figure like Khaled Mohieddin. figure like Khaled Mohieddin. From a young age, when I was about 10 years old, I used to run around chanting for Khaled Mohieddin in the 1976 elections, while
run around chanting for Khaled Mohieddin in the 1976 elections, while irony is that the person chanting for me on the other side was Dr. Mahmoud Mohieddin, who is...  The Deputy Prime Minister, who was... well,
almost like me. He was leading his father's children's movement because Safwat Mohi El-Din, his father, was running against his cousin, Khaled Mohi El-Din, and I was with Khaled Mohi El-Din. So we were chanting against each other, like kids, and we'd fight and stuff like that. So, from childhood, I was involved in the mass movement. I mean, in
childhood, I was involved in the mass movement. I mean, in my life, when I went to university, I ran for the college union and won, then the university union. I started forming something called the legitimate Egyptian Students' Union because Sadat had dissolved the Egyptian Students' Union as a result of the
famous incident involving Hamdeen Sabahi and Abdel Moneim El-Fotouh. So, I started forming the Egyptian Students' Union and got 16 union presidents. We held elections and called it the Egypt, and all the time there were demonstrations, arrests,
were demonstrations, arrests, and sit-ins. I mean, the whole university wasn't focused on science and studying, I swear. I mean, I have a Bachelor of Engineering degree [laughs], but it was almost politically charged. Imagine how to get the youth to turn their attention to you.
That's a skill, actually. The idea of ​​connecting with the audience and being creative, even in cinema. with the audience and being creative, even in cinema. For example, when I was working as an assistant to Youssef Chahine, he would always tell me about the movement of the crowds.
2000 extras, how do you move them in a frame? How do you tell them, "This group will move this way, and that group will move that way," and create harmony so the frame has the right composition? It's very difficult. So, I excelled at the movement of the crowds, even when I was just an assistant. I was always the one in charge of the crowds' movement with
Youssef Chahine. I was the one who organized those thousands of people in the frame, how they entered, how they exited, how they moved. how they moved. That's a skill I've had since I was young—
That's a skill I've had since I was young— managing, managing the movement of masses of people as if they were individuals. I move them, for example, in the frame when I'm making a film or a series.  The secret of the crowd, or the storm, which was present in many groups,
you'll find the movement of the groups smooth as if they were truly representative. Why? Because I'm used to the idea of crowd management. When I was in university, I was a student leader. I mean, one of the things that caught
Youssef Chahine's attention when he first saw me and came with me to the university was that he found the lecture hall with more than 5,000 people, or even more than 5,000. And when I did this, they would be quiet, and when I did that, they would cheer. I mean, I had complete control over my classmates, and they were satisfied with me as a leader. This matter caught his attention a
they were satisfied with me as a leader. This matter caught his attention a lot. A 20-year-old boy who was able to control a crowd of people sitting there, silencing them when he wanted and making them chant when he wanted. I mean, I would do this, and they would chant. I even agreed on the chants that would be said. So, is
this leadership personality innate, right, or is it due to the influence of the influences we talked about, the influence of my father?  And Khaled Mohammadi is basically