Interview conducted and translated by Majid Shokor.
Edited by Touka Shoukor.
After we had finished the last day of filming House of Gods, an upcoming Australian ABC TV drama, I sat with one of the show’s stars, Kamel El-Basha, on the balcony of his hotel room apartment chatting about our recent experience playing close friends in the show. El-Basha is an internationally award-winning Palestinian actor who plays the lead, Sheik Mohammad Al-Hamidi.
Just as I sat at the table, Kamel prepared tea for me and coffee for himself, both considered as national drinks in Iraq and Palestine respectively. He also brought a plate of fruit and some biscuits, sticking to the strong Arab tradition of hospitality no matter the place or the circumstances. We watched the sun farewelling the day as she prepares to greet the next one. A scene matching how we both felt as we drew the curtains on the final day of filming while eagerly awaiting the show’s screening day.
We spoke about many things but mainly theatre, cinema, the representation of Arabs and Muslims in western media, and of course filming House of Gods. I thoroughly enjoyed our conversation and was tempted to record it, but before asking Kamel I thought “No. Better not ruin the spontaneity of the moment, just enjoy the company and the conversation”.
I first met Kamel on the set of House of Gods right before our first scheduled scene in Fairfield, Sydney. We shook hands and quickly began running our lines as we were preparing for the shoot. Despite having just met each other, it didn’t feel strange to play close friends. While it helped that we were both professional actors and becoming familiar with new people on set was part of our job, Kamel’s character comes across nicely, very sincere and soft-spoken, which added to the immediate familiarity.
Reflecting on my last conversation with Kamel I decided to explore more of what he had said that day. Last week I asked him if he was open for another chat, more of a phone interview, based on our last conversation. Without hesitation he agreed.
A few days later, I called him in his home country of Palestine. This is the English translated Arabic interview with Kamel El-Basha.
Let’s go back to the beginning, how did you become involved in House of Gods?
My agent contacted me telling me about a new project in Australia, a country I hadn’t visited before. I liked the idea, and I was open to this new adventure and was willing to know more. Then Osama Sami, the show’s co-creator, and writer, called me. We had a long chat about the project. Osama was articulate, honest, and intelligent, so naturally I became more interested. A few days later I saw Ali’s Wedding, which Osama starred in and co-wrote. I loved the film and was assured that this new project would be of great quality. Nevertheless, I asked to read the script, I was sent the first three episodes. I read them and liked them very much, so I said yes.
Did you have any concerns or reservations about the show, and it’s attempts to discuss various aspects of an
Iraqi Muslim community in Australia?
I always ask to read the script of any project before making choice. Coming from a particular ethnic and religious background I have issues with the portrayal of Muslims and Islam, not only in western media but in Arab Media too. As a Palestinian Arab and Muslim, I should add the issue of politics and the Palestinian struggle. These are very important topics for me in any project.
After reading the first three episodes of House of Gods I said, “Great!! This is great!”, and all concerns went out the window. House of Gods is not a stereotypical story about Muslims in the west, it’s in fact a rich drama that discusses family, ambition, love, and community. Issues that almost every group in every part of the world faces. I found the story to be real and the topic of Islam, as I’ve seen, presented in an honest and dignified way. Of course my view of the show might differ from others, having different opinions is natural.
The story is well written, nuanced, and authentic. It’s honest in tackling issues faced by Muslims and in particular Iraqis as they navigate life in their adopted countries. These include identity crises, a struggle to make sense of a new reality, the struggle within members of the community, love, envy, conflict, sacrifice, and the impact of the world around them.
Before coming to Australia, did you know you would find many artists and actors from Arab countries working on this project, even in different departments?
No, I didn’t know there would be so many artists who had migrated from Arab countries would be working on this project. It was wonderful to see many artists working enthusiastically and engaging with the story. Multicultural societies are layered, I believe that my Arab and Muslim community has a responsibility in sharing beautiful stories from our cultures and religion to bring about positive change.
I was very happy to see many artists from an Arabic background working on House of Gods.
Some of the filming days occurred during Ramadan, a holy month for Muslims. During that month, Muslims, of course, abstain from eating, drinking, smoking……etc from sunrise to sunset. Additionally, Muslims are expected lead ethical lives. It’s a self-discipline practice. You were fasting during many filming days. Was it hard to fast while working? Did your fasting help you become closer to your character?
Fasting is one of the pillars of Islam as you know and as you also know I’m a practising Muslim, Alhamdulillah, I fast every Ramadan. No doubt work is harder during this month, but I’m used to it. I always try not to take on any projects and rest during Ramadan, but there are things you can’t control. When filming falls during this month you’re working long hours and you’re travelling which adds to the fatigue, but you must be prepared for that, I’m used to it now. In many ways it was nice having Ramadan occur during filming, I felt more connected with the Sheikh. I was already connected with the Sheikh as we share similar traits, which helped me play the character, yet there is no doubt that the calmness and joy of Ramadan was a helping factor in finding the last missing pieces. This allowed me to embody the character with a deeper sense of love, trust, and happiness.
Did fasting affect your work both physically and mentally?
Physically, to some degree. Mentally, no. My energy was high and matched that of the team. In fact, I continued to enjoy the work. I tried to take naps between scenes whenever I could. Yet, I only felt needed them because I couldn’t stay awake without smoking, I’m a chain smoker. The food and water didn’t worry me much, only the cigarettes.
How do you approach your characters? What’s your process/method? I don’t mean any of the famous acting method like Stanislavsky’s, I mean your personal method, the one that’s guided you throughout your vast experience as an award-winning actor.
It’s a difficult and complicated question. In general, western trained actors rely on western methods in its long tradition, while most Arab actors and theatre makers, and this is my own observation here, although had studied the western schools, like Stanislavsky, Brecht, Meyerhold, Peter Brook, Antonin Artaud…. etc, they draw from the rich Arab story-telling tradition, like Hakawti story telling, Saamir Theatre, Shadow Puppets Theatre….etc. I, like many other Arab actors, blend the two methods, techniques if you like, and this helps me in the way I approach any character in any project. Arab techniques, if I can say that, can be very rich in emotions and very humane in its portrayal of the characters.
During our last conversation you said that a part of every character you play stays with you. Can you elaborate on that?
Again, it’s a difficult question but it’s one that you always enjoy trying to answer. Characters leave their mark in and on you, something that won’t go away. It’s hard to explain why and how, but it’s something you feel and people who know you feel it too. Something for which you can’t find the right words to explain or make sense of. Sometimes the impact of it can be very positive and at times negative.
Playing Sheikh Mohammed helped me understand my daughters more and be closer to them. I’m more clam and focused. In many ways I’m more connected to people around me, more appreciative of the human condition.
The Sheikh in this show has two daughters, each one different to the other. Each one has her own needs, dreams, and aspirations. This show made me reflect more on my own relationship with my three daughters.
Before I got married, I was busy with working in theatre and film, and this continued after my marriage. I became busy and most of my time was spent working, traveling and being away from my family. I wasn’t completely aware of the issues my daughters were facing, their needs, dreams…etc, didn’t spend enough time with them. When I worked on this show, playing a father to two daughters with different personalities, I realised what I need to do in my life. It was like a wake-up call. I realised that most of the time I’m away from my daughters, not only physically but also emotionally, I wasn’t providing the support they needed, not always.
This show made me closer to them. Now I’m spending more time with them, calling them, talking to them, communicating more. Reflecting on it now, I can see how Sheik Mohammad left his positive mark on me. This was the beauty of playing such a character in House of Gods.
I remember when we did the first reading of the first episode of House of Gods, you were in Japan acting in a play and could only join us online. Maia Abbas, who plays your daughter in the show, was sitting further from the camera and you asked her to come closer to better see her face. When you focused on her, you said “You look so much like my daughter. Oh my God!” And we all thought it’s a good sign and a wonderful way to begin shaping the family at the centre of the narrative.
Yes, I remember that. Maia looks so much like my daughter Maryam, who is also an actor. Similar features, similar hair, and roughly the same age as well.
You have a vast acting experience, both locally and internationally which has garnered you many awards. How do you position your experience in working on House of Gods amongst your other projects?
I can say without hesitation that this is the best TV show I have ever worked on. It is very special and I’m very proud to have taken a part in it. I’m very grateful to all people involved.
Why has it been so special?
For many reasons. I’m always intrigued by the social life of any society, and this is the first show of its kind to tackle and discuss a range of nuances within an Arab, Muslim community, following the journey of one family in diaspora. The show does this in a genuine and honest way that stays true to the realities of many Iraqi Muslims in Australia. This is something new, I hadn’t taken part in such a show before.
It’s a great story. The conflicts, whether personal, between people or a wider community, especially from the perspective of those living in the west while practicing a very different culture and religion, is explored beautifully and authentically, as opposed to the stereotypical approach. Islam, however, people want to view it, is a contentious issue here, especially between Muslims as group of individual has a varied understanding and connection to the religion. House of Gods showcases that, it presents the complexities of such an issue and does so in an honest way to showcase the reality. Characters and dialogues are, natural, rich, and well thought of. I think there is no one hero in this story, all are heroes in their own rights, even characters who may only have one or two scenes. Each character has a story that plays an integral part in the overall narrative.
I think working form the material of a talented team of writers from different cultural backgrounds, most of which embody two cultures, gives the project utmost authenticity. Because of this I say this is the richest narrative I have ever worked on in television and I can’t wait to see it on screen.
Many years ago, you lived in Iraq for three years and even studied drama during that time. Did that experience help in playing an Iraqi Sheikh?
Of course, especially when I played opposite you, as all our shared scenes are in the Iraqi dialect. Also being familiar with the gradations of the culture and the religious sect of the Shaikh (Sha’i) helped me immensely. I could recall many images and experiences from my time in Iraq that I used in many scenes. It was good.
Fadia Abboud directed all six episodes of the series, how was it working with her? Was it different from other directors you have worked with?
Every director has their own way of doing things on set and Fadia is no exception. It’s very reassuring when you have a director on set who is calm, confident, who gives clear notes and have trust in you, and Fadia was just that. She is very receptive and accommodating. She knows the story inside out and always consults with you before trying new things. She creates a good atmosphere and knows how to use the talent around her to serve the purpose of the scene. Of course, the creative team around her played a vital role in implementing the overall vision.
How do you prepare yourself for work during hard times as you, like almost all the Palestinian people, suffer from a brutal occupation.
“We love life whenever we can ” as our Palestinian poet Mahmoud Darwish wrote. I personally have pity on whoever treats another human being unjustly. The savage occupation is a sign of fear and hatred because the perpetrators know that they are the aggressors and justice is not on their side. I can’t live like that, fearing everyone and hating everyone. I don’t have a choice but to live as long as I’m alive. And to live I must work and resist and contribute to bring about change, a positive change, a better future for my family, for myself, and for others. My way of doing this is art, to continue creating art.
What did you enjoy most during filming?
Having a coffee and a cigarette at the end of each scene because you know that everything went well and now you can relax and take a break. For me these were the most enjoyable moments during filming. But the best moments are yet to come, and that’s when you see the show and enjoy the hard work you and everyone around you have put in.
This was your first time in Australia, what was the experience like?
I loved being in Australia. It’s a beautiful continent, diverse geography, diverse cultures, and diverse weather too. If I had a chance, I would’ve loved to spend more time there, to understand the society more, its social fabric, political dynamic, meet and talk to more people. I might do that in the future if I have a chance to work in Australia again.
Do you have anything to the House of Gods audience?
Please see the show. It’s a wonderful story and I’m sure you won’t be disappointed. It’s going to be a good experience so enjoy the ride.
https://ab.co/3I0ITcZ