Sanaa Hamri, executive producer and director of Prime Video’s fantasy sequence “Wheel of Time,” looks like she’s just getting started.
The Moroccan-born film director began his profession in the late Nineteen Nineties directing music films for artists such as Prince, Mariah Carey, Sting and Nicki Minaj. She moved to TV in the mid-2000s, directing episodes of “Determined Housewives,” “Glee,” and “Nashville.” Hamri made his directorial debut in 2006 with the romantic comedy “One thing New” for Focus Choice. He went on to direct the sequel to the 2008 hit “The Sisterhood of the Touring Pants 2” for Warner Bros. and the romantic comedy “Simply Wright” for Searchlight in 2010.
With total control of Amazon Prime Video, he is in the Primetime Emmy Awards poll for guiding the episode of “The Wheel of Time” “What Was Meant to Be.” At the end of the second season follows Rand al’Thor (Josha Stradowski) and others to a showdown with the most terrible enemy but. The fake ones include Rosamund Pike, Daniel Henney, Zoë Robins, and Madeleine Madden.
In an interview with ElectionHamri discusses the challenges and skills involved in drama sequences, living in London for 9 months to manage two episodes of “The Lord of the Rings: The Rings of Energy” and whether he is open to directing another sequel to “The Sisterhood of the Touring Pants. ”
learn: All Primetime Emmy predictions in every class at Choice Awards Circuit.
How would you describe the expertise of filming “The Wheel of Time?”
“Wheel of Time” is an amazing project, with a deep world-building involving Aes Sedai and many creatures. In the second season, our characters are separated, and each of them must find their own path, making the journey that will come to adulthood. At the end of the season, they meet again.
As a filmmaker, exploring a very different world and film in my home country of Morocco is exciting. A spotlight takes the crew and fakes to the Sahara Desert. Beauty and panorama, however distant, provide a haunting backdrop for scenes like Moiraine’s seaside sequence where she does her weaving.
Working with a skilled Moroccan crew allowed me to blend American and European work expertise with my African roots, creating one thing special. The upbeat reception from followers, especially on the theme of feminine empowerment, where women maintain their abilities, is heartening.
Directing the season finale, with its intricate choreography and movement sequences, was a major achievement. Finding the clip on Instagram reminds me of the incredible effort and collaboration that made it so visually appealing and cohesive. It’s an amazing skill.
While people love this gift, they haven’t gotten much of anything important. What irritates you?
With streaming, it’s really tiring to tell who’s watching. You may need the whole family to complete one service, after friends or family members visit and click round. Measuring affect hard through web chatter. Personally, I’m the type to post and then break up. I only use Instagram and check out to not deal with numbers, which can be a dangerous way for an artist. As a filmmaker, I aim to create works that are emotionally appealing, believing that individuals will rediscover them over time, as always.
You’re directing two episodes of the upcoming season of “The Lord of the Rings: The Rings of Energy” – how does this expertise compare to others you’ve worked on before?
“Rings of Energy” has been special because of Tolkien lore and a very powerful group. Everyone is immersed in this world, from showrunners to producers, actors, and craftsmen. I’m mostly based in London for about 9 months, the first time I’ve lived there, and I’ve gotten really caught up in the mission.
The secrecy is amazing, with pseudonyms for everything and only the right people getting access to the scripts. From a filmmaking perspective, building in this big fantasy world is really fascinating. I would love to make certain matches in Tolkien’s world, especially working with different creatures, although I can’t reveal the details until now.
Seeing the actor perform at the entrance is not very good, depends closely on the results seen. Collaboration between manufacturing design and visible results is essential to create a cohesive body. Generally, it is enough expertise.
Preparation is important in filmmaking, especially in large-scale missions like Rings of Energy. Preparatory artwork is essential to inventive success. I may have several conferences for each sequence, storyboarding and re-storyboarding, discussing every second intimately with the cinematographer to make sure we are completely ready. Immediately in the set, everything about the attack immediately, so the method of precision is important. While I am an emotional director, I am also extraordinarily technical, which fits well with my type of filmmaking, especially for missions like Rings of Energy.
How much time do you spend with the actors on one thing like “The Lord of the Rings” versus the visible results and post-production?
For me, the filmmaking course is about 60% working with actors and 40% with everything else. My course consisted of practicing with the actors to debate the scene, walking them through the unit, and then blocking the scene before we started shooting. This preparation will be intense, mix the costume and adjust the preparation.
In the evening, I usually work with actors on half-built units, which is important to understand the missing components. This allows me to collaborate with manufacturing design to make important changes, such as widening the road if desired. I like to bring actors to the unit partially or completely finished so that they can play the role. On top of these walkthroughs, we’ve completed a full training session without them feeling locked out.
As soon as we started shooting, the actors got used to the set and their actions. My approach includes easing them into when the DP is pre-lighted on the head. The beauty of a great gift like Rings of Energy is that it takes time for careful planning.
This detailed preparation is not about cash, but about careful planning. Whether in big-budget or small-budget today, the important difference is the luxury of time. Efficient time management and prioritizing what is important is important. I do this exact method for every mission, along with the Rings of Energy.
Phil Caruso
You directed the 2008 sequel to “The Sisterhood of the Touring Pants.” Will you be enthusiastically pursuing the 3rd one?
I can say for sure, just to help the woman. I also explore different genres and tell new stories that are distinctive. I don’t like repetition and like to maneuver around different things. For example, “The Bondsman” is a very different gift than the “Rings of Energy,” and even the Rings and Wheel of Time, although each in a fantasy style, are very different.
For the next mission, I want to have new components, worlds, and challenges. I am fascinated by creating content that unites individuals around the world, gives them food for thought, and expands their minds, especially in this difficult situation. This is the problem I am exploring in my next work.
Maybe a style swap from the franchise?
That’s a really good idea. Pants (laughs). All these women are impossible. I can work together again.
Are you proud to see America Ferrera get an Oscar nomination for “Barbie?”
It’s second best. I respect her in Barbie; he is impossible. Barbie is an incredible achievement. Blake Vigorous, Amber Tamblyn, and Alexis Bledel — all women — have really been a force to be reckoned with.
This interview has been edited and condensed. “Wheel of Time” is now streaming on Prime Video.
