Resul Aşlak

What inspires your work?

I actually keep notes about my life and observations. My impressions and research naturally transform into a story through these notes. The process is quite organic. The moment the first scene I write draws me in, I tell myself, "I need to focus on this," and that's when I start writing the script.

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What films did you watch as a child?

I grew up mostly on Harry Potter and the Lord of the Rings series, but Bridge to Terabithia was truly devastating for me. I think that's why I gravitated towards drama.

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What directors have influenced your work?

I've never been deeply influenced by any particular director, but as someone who appreciates the Dogme 95 manifesto, I truly admire Lars von Trier, Gaspar Noé, and Andrey Zvyagintsev. I follow their work passionately.

What is one film that you think everyone should watch? And why?

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What is one film that you think everyone should watch? And why?

I'll name four films: Life is Beautiful, The Return (don't get me wrong—I'm talking about Andrey Zvyagintsev's The Return), Requiem for a Dream, and Festen. Everyone should watch these four. It would take too long to explain why, but each one leaves a completely different impression.

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If you could adapt any book/play/piece of literature, which would it be?

Honestly, I'd love to adapt a comic book—definitely something from the Batman series. I'd love for people to see a Batman film from my perspective, because I'd offer a much darker version.

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Who are your favourite writers? (this could be from any format - script, books, poetry etc.)

I'll name two Turkish poets: Cemal Süreya and Nazım Hikmet Ran. Both leave a unique impression on me, and I truly enjoy reading their works.

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Name a film score that makes you feel something.

I'd say Hans Zimmer is the master of this genre. I'd love to encounter him at least once in my career. Interstellar should be taught as an academic thesis in film schools.

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Who is an actor that you would love to work with?

I'll list five actors whose talents I deeply admire, regardless of their personal lives: Mahershala Ali, Marion Cotillard, James Franco, Tom Hardy, and Ana de Armas. I'd love to make a film with this group.

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What was the last film you watched? (and would you recommend it?)

I don't mean to sound harsh, but I once watched a really bad independent Turkish film, so I don't want to name it. Unfortunately, our country has serious budget constraints. However, I think one of the best local films of recent years is Nehir Tuna's Yurt; it's an excellent production.

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What is next for you?

​​I'm currently working on a short film project before my feature film. I haven't found funding yet, but I'm determined to make it happen despite the challenges.

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​Tell us about your film iSTANBUL 95?  What`s it all about?

My short film Istanbul 95 is, in my opinion, an extremely challenging project to make under Turkish conditions. At its core, it’s a story of existence — both spiritual and physical — and also about those who suffer from heartbreak and lose their emotions in this vast metropolis. Naz has a platonic admirer, but he’s the only person who truly loves her in this city. Sadly, that admirer, Emre, takes his own life — he cannot exist in Istanbul. Naz realizes this too late, and that’s when her own collapse begins.

 

Can you tell us about the creative process in making your film? What drew you to this project?

The story actually emerged after the COVID-19 pandemic. Istanbul 95 is essentially a reflection of my personal experiences and observations from that period.

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How long does a film like iSTANBUL 95 take to make? 

It took a full year to bring the project to life. The process was extremely difficult, both financially and emotionally. Finding funding, forming a team, assembling the cast — everything was a challenge. To be honest, Nermin was my biggest stroke of luck. As the lead actress, she delivered a wonderful performance. I sincerely wish her great success in her career.

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What challenges did you encounter?

After finding Nermin, things became easier when it came to casting. However, the production process itself was tough. Once Tuğçe came into my life, that part also became more manageable. Thanks to my co-producer Tuğçe, finishing the film became much easier.

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Do you have a favourite moment when filming/creating iSTANBUL 95?

Unfortunately, there wasn’t really a special or funny moment during the shoot. Because of our financial limitations, we had to film everything quickly and efficiently. Since my partner Tuğçe joined after we finished shooting, the filming process was entirely about maintaining pace and momentum.

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How was working with your cast and crew? Do you have any stand out moments?

I don’t really have a funny memory, but everyone truly gave their best effort on set.

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Can you tell us more about the sound/production/costume design of your film? 

I wish I could tell you something more uplifting here, but honestly, we could only afford what our budget allowed. We had a very limited amount of money, and that dictated almost every choice we made.

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Where did you get the inspiration when creating iSTANBUL 95? 

This part is a bit complicated. The story was inspired by my observations during the COVID-19 period, when I was in a relationship with my ex-girlfriend. Later on, I actually cast another ex-girlfriend in the lead role. It was emotionally a very difficult process — drawing inspiration from one past relationship and then directing another ex-girlfriend in that role was quite an unusual experience.

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Were there any films that inspired you when creating iSTANBUL 95?

Technically, I can divide my style into two approaches — Dogma and Gaspar influences. As viewers will notice in Istanbul 95, I didn’t use any artificial lighting except for a roof lamp. I only used a few small practical lights, like home bulbs, to illuminate certain areas.

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What have you learnt from making iSTANBUL 95? Would you do anything differently next time?

Istanbul 95 taught me a lot. It showed me what I need to pay much more attention to in my next project. Honestly, it became the best kind of school I could have asked for.