[vc_row el_id=”yillar-menu-row”][vc_column][vc_btn title=”2021″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:%2Fen%2Famity-honorary-award-2021|||”][vc_btn title=”2020″ color=”juicy-pink” size=”lg” el_class=”yillar-menu secili” link=”url:%23|||”][vc_btn title=”2019″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2019%2F|||”][vc_btn title=”2018″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2018%2F|||”][vc_text_separator title=”III. International Amity Short Film Festival” i_icon_fontawesome=”fa fa-podcast” i_color=”grey” i_size=”sm” add_icon=”true” el_class=”seperator-baslik-pembe”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”20px”][vc_single_image image=”7532″ img_size=”400×400″ alignment=”center”][vc_column_text]<\/p>\n
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THE MAN WHO MAKES PHOTOS SPEAK<\/p>\n
He has always been presented as the sound recordist or the sound engineer. We have never set eyes on him or been acquainted with him, but he always stayed as a familiar name in our memory. For years, he spoke to us from the darkness of dream castles with the voices of others\u2026 While we enjoyed beautifully spoken Turkish and listened to a song from sweet-voiced singers, he could never leave his small room. Sometimes, he searched for the image of a voice inside the dark dubbing halls and sometimes the voice of an image\u2026 While we dream, he kept dealing with real sounds. The cinema adventure of Necip Sar\u0131c\u0131 was not coincidental. He was in love with the cinema since his childhood. The seventh art seduced him when he was in school-age\u2026 He was a regular at movie theaters in Beyo\u011flu. When the school ended, he landed a job in no time next to a radio repairman who was also a projectionist. As he was learning the ropes of the job from his master, he was not aware that he would acquire the profession. In 1949, the young Sar\u0131ca was in \u0130zmir\u2026 He was going to take his first step towards the sector in this city. He would get his machinist license and start his cinema adventure with a huge projector, Microtechnica 11 B. He was going to become skilled in two and a half years, working in many movie theaters in \u0130zmir.<\/span><\/p>\n When he returned to \u0130stanbul in 1953, Necip Sar\u0131c\u0131 met Ye\u015filcam Street for the first time with the encouragement of his friend, Mehmet Aslan\u2026 He landed his first job on L shaped street in the middle of Beyo\u011flu\u2026 Controlling the film rolls sent to the movie theaters in the warehouse belongs to G\u00fcven Film Company, owned by Yoakim Filmeridis. And for only 2 Turkish liras per movie\u2026 After a short time, he began to do the same thing for And Film Company owned by Turgut Demira\u011f. Since he was not satisfied enough with it; he also undertook the projectionist job And Movie Theater in G\u00f6ztepe. When the calendars showed 1958, a Milliyet newspaper advertisement would divert Necip Sar\u0131c\u0131\u2019s cinema adventure in a new direction. This new direction will also determine Necip Sar\u0131c\u0131\u2019s place in Turkish cinema.<\/span><\/p>\n At the beginning of the same year, Lale Film Studio, owned by Cemil-Sabahat Filmer, announced that it was looking for staff to be trained. Necip Sar\u0131c\u0131 would apply for this job and have his name written among 5-6 people who passed the exam. He was now an employee of the most important studio in the Turkish cinema market, Lale Film. His partnership that started with sound engineer Nihat Sevin\u00e7 continued until the mid-1960s. Many films like \u201cKumpanya,\u201d \u201cKaracao\u011flan\u2019\u0131n Kara Sevdas\u0131,\u201d \u201cCumbadan Rumbaya,\u201d \u201cHazreti \u00d6mer\u2019in Adaleti,\u201d \u201cDi\u015fi Kurt,\u201d \u201cOtob\u00fcs Yolcular\u0131,\u201d \u201cG\u00f6n\u00fclden G\u00f6n\u00fcle\u201d reached the audience on the silver screen with the sounds recorded by Nihat Sevin\u00e7-Necip Sar\u0131c\u0131.<\/span><\/p>\n Starting from 1965, Necip Sar\u0131c\u0131 was the sole go-to guy of Lale Film Studio\u2019s sound recording room. Successful films of influential directors of Turkish cinema are now entrusted to him. The sound rooms\u2019 sound heroes were four people in total\u2026 Yorgo \u0130liadis, Marko Buduris, Tuncer Ayd\u0131no\u011flu, and Necip Sar\u0131c\u0131… He gained the trust of the producers and directors in a short time\u2026 The musical support of Metin B\u00fckey and his friends was always with him. The voices in the movies were not real; almost none of them was the actor’s voice. The actors usually did not dub themselves. All the actresses were Adalet Cimcoz, Nevin Akkaya, Jeyan T\u00f6z\u00fcm, and all the actors were Abdurrahman Palay, Hayri Esen, Sadettin Erbil\u2026 The song dubbing was entrusted to Sevim \u015eeng\u00fcl and Belkis \u00d6zener.<\/span><\/p>\n Necip Sar\u0131c\u0131 summarizes the dubbing period of Turkish cinema with an anecdote: \u201cA famous actress, without introducing the stage actress who constantly dubs her, said to a press member \u2018here is my voice\u2019 in the dubbing hall of Lale Film Studio. The dubbing actress, who was offended by this, turned to the journalist and said, \u2018Mademoiselle is the photo of my voice,\u2019 pointing at the famous actress\u2026\u201d<\/span><\/p>\n Breaking his ties with Lale Film Studio in 1972, Necip Sar\u0131c\u0131 founded his studio; Yeni Studio. This brand-new studio, as its name suggested, brought vitality to the Turkish movie market in the 1970s. So much so, famous producers and directors would line up to have the sound and music mixing of their films done there. The Yeni Studio would become a brand in no time. The person behind this success was Necip Sar\u0131c\u0131. He was devoted to doing his job in the best way possible, would burn the candles at both ends, and keep up with the movies\u2019 opening dates. Whether it was Ertem E\u011filmez, Memduh \u00dcn, At\u0131f Y\u0131lmaz, or Osman F. Seden, everyone was content with his work\u2026<\/span><\/p>\n The success of Necip Sar\u0131c\u0131 also caught the attention of the owners of Lale Film Studio, his first love. When the calendars showed 1979, they did not hesitate to hand over the studio to their former tonmeister, Necip Sar\u0131c\u0131. When the studio began to work under the name of Yeni Lale Film Studio, the Turkish cinema also gained a new studio. He kept his studio active until the end of the 1990s\u2026 Necip Sar\u0131c\u0131 is a cinema professional who worked in almost every branch of film making, whether as a projectionist, sound engineer, music director, studio ownership, producer, and cinema archivist from the heyday of Turkish cinema until today\u2026<\/span><\/p>\n He was an intellectual not only in terms of cinema but also in cultural terms\u2026 When you go to his place, you will encounter a museum that appeals both to the eyes and ears. Although he displays tremendous humility, I do not know how many people know that he is also a photographer. The frames hanging on his walls must be a product of an epicure; the most beautiful examples of calligraphy and artist Muazzez Bey\u2019s paintings\u2026 Necip Sar\u0131c\u0131 is a happy cinema laborer, living in the middle of a world that film posters, projections, film cameras, and cameras meet\u2026 While listening to his memories as a cinema veteran, the unwritten, unofficial Turkish cinema history of the last 60 years is revealed.<\/span><\/p>\n I needed to get to know Necip Sar\u0131c\u0131 at a time when the veterans of cinema who worked in the past did not like to talk much or talked exaggeratedly and incognito. Because many times a story I heard somewhere was re-told to me at another time with a changed identity. Since the day I went to the historical, now-defunct Lale Film Studio in Mecidiyek\u00f6y, I have not encountered such a situation either with Necip Sar\u0131c\u0131 or the people who were outstanding cinema laborers and whom I have had the honor to meet there. Everything was real and documented\u2026 As someone who usually approaches every conversation greedily, I was astonished while listening to them during our first conversations. How could a person be so well-resourced?<\/span><\/p>\n The subject of our first conversations is always about Metin Erksan and the movie \u201cThe Well.\u201d He had an intense friendship with Metin Erksan. When he was in sound engineering, he entered the film producing business with him. \u201cThe Well\u201d was a movie in which Ye\u015fil\u00e7am\u2019s all the existing rules were disregarded\u2026 The story, the shooting conditions, and the money spent were above the Turkish cinema standards. So to speak, Necip Sar\u0131c\u0131 has taken a leap of faith and dived into a challenging adventure with Metin Erksan. And at the end, by adopting the verse starting with \u201ctreat women with kindness\u201d from the Surah of Nisa of Quran, he presented a cult movie to the Turkish cinema unyielding enough that would leave its mark on the human being\u2019s sense of possession\u2026<\/span><\/p>\n Necip Sar\u0131c\u0131 continued his adventure as a producer, which he started with \u201cThe Well,\u201d with \u00d6mer Kavur in 1979. Kavur was a director who receded into the background after the \u201cYat\u0131k Emine\u201d fiasco. He wanted to come back by co-producing with Necip Sar\u0131c\u0131. \u00d6mer Kavur would be responsible for all the shooting conditions and Necip Sar\u0131c\u0131 for studio conditions. This brilliant cooperation started to bear fruit in a short time. \u201cYusuf ile Kenan,\u201d \u201cAh G\u00fczel \u0130stanbul,\u201d and \u201cK\u0131r\u0131k Bir A\u015fk Hikayesi\u201d put on the record as the outstanding examples of Turkish cinema. Next to feature films, Necip Sar\u0131c\u0131 also produced documentaries.<\/span><\/p>\n On the other hand, Necip Sar\u0131c\u0131 also has a rosary collection, which must be his other talent\u2026 His rosary collection is like a complement to his Mevlevi stance that he offers limitlessly to all his friends. He became the only source for those interested in the matter with the exhibitions he organized, the book he wrote\u2014 \u201cPray Pieces,\u201d and the most successful documentary he produced on the subject that he is an expert now. Although I have no interest in it, I can say that I learned about the finesse of amber prayer beads thanks to him.<\/span><\/p>\n Necip Sar\u0131c\u0131, the man who dubs the photographs, thank you thousand times for the sounds, music, films, and memories you have given us.<\/span><\/p>\n [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" [vc_row el_id=”yillar-menu-row”][vc_column][vc_btn title=”2021″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:%2Fen%2Famity-honorary-award-2021|||”][vc_btn title=”2020″ color=”juicy-pink” size=”lg” el_class=”yillar-menu secili” link=”url:%23|||”][vc_btn title=”2019″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2019%2F|||”][vc_btn title=”2018″ color=”juicy-pink” size=”lg” el_class=”yillar-menu” link=”url:http%3A%2F%2Fdostlukfilmfestivali.com%2Fen%2Famity-honorary-award-2018%2F|||”][vc_text_separator title=”III. International Amity Short Film Festival” i_icon_fontawesome=”fa fa-podcast” i_color=”grey” i_size=”sm” add_icon=”true” el_class=”seperator-baslik-pembe”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”20px”][vc_single_image image=”7532″ img_size=”400×400″ alignment=”center”][vc_column_text] Necip Sar\u0131c\u0131 2020 Amity Honorary Award [\/vc_column_text][vc_column_text] THE MAN WHO MAKES PHOTOS SPEAK He has always…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullcontent.php","meta":{"footnotes":""},"class_list":["post-8239","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/8239"}],"collection":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/comments?post=8239"}],"version-history":[{"count":3,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/8239\/revisions"}],"predecessor-version":[{"id":8573,"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/pages\/8239\/revisions\/8573"}],"wp:attachment":[{"href":"http:\/\/dostlukfilmfestivali.com\/en\/wp-json\/wp\/v2\/media?parent=8239"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}