Syrian actor Abbas al-Nouri said he knew nothing about part 10 of the Bab al-Hara series, and he did not want to know anything about it. He revealed that he supported the public's proposal to end the series because of his mistakes and mistakes. Mulla mentioned one of the authors to be the tenth part of a good conclusion to this series, to the surprise that the first thing the author did was write a paper "Abu Issam", adding that this series faced problems with the public.
In the context of Syrian drama, Al-Nouri in the Al-Mukhtar program with the media, Bassil Mehrez, in all cities of FM, considers that the General Establishment for Production is like a furnace that only hears itself, in the decline and fragmentation of drama, and is characterized by illiteracy high, and with the presence of producers in the private sector, they have been able to find solutions that are still talking about the causes of the problem.
Al-Nouri also spoke about art censorship, saying that the idea of an intellectual sergeant did not exist and artists could not become art experts. He stressed that censorship to this day has not revealed the real reason for preventing it from showing the "Tarjman Al-Ashwaq" series last year. Some scenes will be displayed this year and contain different visual cinema film director Mohamed Abdel Aziz, whom he described as rare in his talent, revealing that the value of the work made him participate in small wages.
As for theaters, Nouri said that meant there were no audiences and no Syrian cinema no matter what the media said about the films. He added that there was a large marginalization of real artists who contributed to the rise of drama, theater and cinema simply because they did not considered on the left, Increasingly, given that artists such as Abdul Latif Fathi, who contributed to the theatrical transformation of Egyptian dialects to Syria, did not give birth to Syrian talent for at least the last 100 years, not mentioning the Bounty Drama Institute.
He also said that many parts of Arab history need to be revised, by mistake, given that the character "Salah al-Din Ayyubi" was a big lie, he said Saleh in Jerusalem under the Crusades and returned to Jews, and that there were writers. when he wrote about ancient cities such as Damascus, which transcended culture to be its makers and that Syria was forced to be educated and varied, depending on the inevitability of their country's cultural and humanistic structures, which transcended the narrow party concept gradually.
Al-Nouri spoke of his grandfather, "Abu Ahmed", saying that he left him the most important word in his ear to this day, namely (you can grow without a trace), even though his grandfather was a salesman who walked the streets to sell fruit, and Nuri was a child then slept in the heart of the vehicle on the road. He had put it in the Ghazi cinema, where he saw the first film of his life, "Salama" by Umm Kulthum, and at that moment was the spark of the first art that his grandfather had let go in his life without knowing.