While at the University of Television of Film in Munich, Yasemin Samdereli worked as Assistant Director on two of Jackie Chan’s features. She has also directed “Kismet” and “Almanya: Welcome to Germany,” which premiered at the Berlin International Film Festival in 2011 and went on to receive numerous prizes including German Film Awards for Best Script and Best Film.
“Night of All Nights” will premiere at the 2018 Hot Docs Canadian International Documentary Film Festival on April 28.
W&H: Describe the film for us in your own words.
YS: Our film is about four couples from different corners of the world who are celebrating more than 50 years together. It’s about not knowing much, or anything, really, about each other on an intimate level before jumping into marriage.
It’s about how that intimacy takes shape over time and how it’s kept alive. It’s about the diverse ways that marriages begin, blossom, and can last a lifetime.
W&H: What drew you to this story?
YS: My grandmother was married at the age of 16, and let’s just say it wasn’t exactly what she wanted at the time. Girls were not really allowed to do what they wanted in Turkey those days, so she had to get married. She never had any sex education —we’re talking about the ’50s!
As kids, when she told us about her first night together with my grandfather, we were in tears we were laughing so hard. It was tragic, of course, but also so funny, and in a way, quite touching. She laughed harder than any of us!
I was also drawn to the story because I myself had just gotten married and was facing my first marital crisis.
W&H: What do you want people to think about when they are leaving the theater?
YS: In the best case scenario, they’ll have laughed a lot and cried a bit while watching it. Hopefully they’ll feel like they can take away something special from the experiences of these couples.
W&H: What was the biggest challenge in making the film?
YS: Actually, everything about making this film was a really a big challenge! I don’t normally make documentary films; most of my films are narratives. I kind of freaked out!
How do you work with real people sharing such personal stories? How do you even find them, and then convince them to be involved? Honestly, I was really scared, but at the same time I knew that I wanted to make this happen. If I wasn’t scared, that probably would have been a bad sign. Overcoming the challenges I faced making this film are a big part of the result, which I’m so proud of.
W&H: How did you get your film funded? Share some insights into how you got the film made.
YS: Getting the budget together was not easy. Our first few applications for funding were denied, but we continued looking for solutions and found them by co-producing with a well-known documentary producer, Arne Birkenstock. He loved the idea, and said “Let’s make this an international thing.”
Then we got the distributors, Concorde, on board. They had done our last film, which was a big success at the box office, and they believed in us as filmmakers.
We re-sent some applications and this time were funded. In Germany, we were applying for regional funding, and we needed it from a few regions, so it took some time.
W&H: What does it mean for you to have your film play at Hot Docs?
YS: It’s such an honor. I’m so excited about it and very happy that two of the characters from the film, Bill and Norman, will be joining us for the premiere.
W&H: What’s the best and worst advice you’ve received
YS: Best advice: Don’t take anyone’s advice. I know that sounds silly, but if we listen too much to what others say we start to forget what we ourselves are to say. When I said that I wanted to make this documentary, most people thought that it would be a waste of time and energy, and that I should just stick to what I know and make Part 2 of [my hit feature] “Almanya.”
Worst advice: “The business side of filmmaking has nothing to do with us creatives.” It’s nonsense, and frankly, that line of thinking often puts directors in troublesome situations. Producing and directing is the only solution if you want to make unusual, original films.
W&H: What advice do you have for other female directors?
YS: Look for people who you appreciate and enjoy working with, and keep working together and supporting each other. Building a network is very important, and don’t sign contracts without the legal support of a lawyer.
W&H: Name your favorite woman-directed film and why.
YS: “Antonia’s Line” directed by Marleen Gorris. I just love the charm and energy of that film and its lightness and originality. I think it’s just brilliant.
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?
YS: I think that it is a very important and necessary movement that will lead to a more complex, diverse, and fair industry.
