The first season of the episodic reality series “Very Very Strange Hotel,” directed by Saman Ghanem and produced by Hamed Yaminpour, aired on Pouya Network during Ramadan and in the war-torn atmosphere of those days, with the aim of providing entertainment for children. This series, which is in the mystery-adventure genre and is made in the form of 15 episodes for a child audience, is also aired every day during Nowruz at 5:30 PM on Channel 2 and 7:30 PM on Omid Network after being welcomed by families and children.
Manouchehr Sanei, the editor of this series, said in an interview with ILNA reporter about his participation in this project: “My interest in the children’s genre is not just a professional choice, but a part of my artistic life. For years, I have tried to produce at least one work in this field every year; because the world of a child is an honest and direct world where truth breathes more easily.
He continued: At the same time as the release of the feature film “City of Cats” in the fall of last year, Saman Ghanemy, my old friend and former colleague, who directed the first season of “Hotel Very, Very Strange,” contacted me and proposed editing this series. At that time, the series “Tankkhorha” was also being broadcast, and I honestly explained my time constraints. Ultimately, with the mutual understanding of the production and directing team, these conditions were accepted and I joined the project as an editor; a project that promised a different experience from the very beginning.
Referring to his previous experiences in this field, Sanei said: “Before this series, I had edited three feature films and a series in the children’s genre. Working for children is a kind of return to a simpler and more honest world for me. When editing such works, I myself become a child to some extent; with the same sense of wonder and playfulness. Perhaps the longevity of children’s works also stems from this empathy.
He explained the technical challenges of the work: Editing a series, especially in the children’s genre, is a field full of subtleties. In this series, four child actors appeared in the main roles and were in front of the camera in many sequences. Editing a child’s play has fundamental differences from adult play; here, one must be more patient and discover the natural rhythm of the child’s play, rather than forcibly changing it.
The editor added: “Fortunately, actors such as Rayan Sarlak, Aylar Abbasi, Hossein Shahbazi, and Arshida Darshadkar, under the guidance of Saman Ghanemy, had gained a good understanding of their roles from the pre-production stage. However, editing a child’s play is still a sensitive and difficult task; although at the same time enjoyable. In the post-production stage, we also had challenges in the field of special effects, but with the management of Hamed Yaminpour and the director’s coherent vision, the process was balanced and the post-production path continued with coherence.”
Referring to the role of editing in the final formation of the work, Sanei said: “I always believe that the script is written three times; the first time by the writer on paper, the second time during the performance by the director, and the third time in the editing room. This third stage is actually rewriting the feeling and rhythm of the work. Editing is the moment when scattered images gain meaning and sounds become the spirit of the narrative.
He also explained about the editing method of this series: “From the beginning, we agreed with Saman Ghanemy about using the technique of changing the speed of the shots, or Fast Montage. In some scenes, we used longer shots and then changed their speed to give more energy to the narrative in order to better maintain the mental rhythm of the child audience. Also, the use of guided sound effects helped to form a more precise coordination between the music and the voice-over.
Sanei continued: “The editor is actually the invisible architect of a work. What the audience ultimately sees and hears has already been formed at the editing table. Without this stage, images and sounds are merely raw materials that have not yet been transformed into a work of art.
In conclusion, referring to the status of this series, he stated: “I believe that “Very Very Strange Hotel” is one of the successful television productions in recent years in the field of children and adolescents. The passage of this project through the think tank of Poya Network, the creative vision of Saman Ghanemy, and the support of Hamed Yaminpour have turned it into a remarkable work.
In conclusion, the editor thanked the post-production team and said: “For nearly a year, all members of this department worked with effort and empathy to bring this series to the children’s audience with the best quality. I also sincerely thank my colleagues in the editing team, Parisa Ziba, Majid Javanmard, and Elnaz Asgari, who were with me and empathized along this path. Each work is the result of creative efforts that together reach a common result.