has been a destination for migrants, being at a crossroads between Europe and Asia. Due to the ongoing conflict in Syria, it now hosts the world’s largest migrant and refugee population. I think it’s fair to say your films have reflected this aspect of your country’s history, albeit not directly. Do you agree? If so, could you elaborate?
Obviously my films do not put these issues as their focus, but still, characters who are not content with where they are and who dream of going to some other places appeared in my former movies. Not because of our back and forth between Istanbul and Yenice, but due to my general character, my nature which can by no means escape feeling like a stranger wherever I go, I might be considered as a confirmed refugee.
In practical terms, I can agree. It is true for starting the profession, testing one’s self and shooting incidents that cannot be taped by heavy cameras. It can also be said that this has brought some kind of democracy and justice to film producing. We know that there are many talented directors who would maybe never get a chance to make movies in the absence of digital opportunities. Thus, one can think that it saves filmmaking from the hands of a privileged community.
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