The first filmmaker I know closely is Daoud Abdel-Sayed. I was a student at the Faculty of Information and was training in (Rosa Youssef), and the National Center for Cinema was about to celebrate the turning of the documentary film director Salah El-Tohamy to his sixtieth year, and a (brochure) was published that his students competed in writing. His writing style is special and different in his choice of vocabulary. He has directed a number of documentaries, which I have not seen, but his name is only repeated in the press about his willingness to present his first feature film (The Struggle of Businessmen).
I got closer to Daoud and watched all his documentary films, and I read a number of his works on paper, I sensed that he had a different creative flash. He told me that he had read a press report by writer Karima Kamal in (Good Morning), he wanted her phone number to turn the investigation into a movie.
I knew Karima by virtue of my presence in (Rosal Youssef), and she had not heard his name yet. The biggest problem is that one of the directors most present in the (media) had already contacted her to turn the investigation into a film.
I told her that Daoud is more talented, and I gave him her phone number, and a time passed, and we did not see the movie, but it was the beginning of the spark of a love story that led to marriage, and then the birth of their only child, Youssef, a name that is repeated as a hero in David’s films.
His fiction films did not exceed nine, those that formed the creative map of the great director, were deeply engraved in the conscience. David’s friends like to call him “the wise generation.” Filming is only after the film is embodied in his imagination, so his execution begins.
Daoud Abdel-Sayed owned a microscope and a telescope together. He was approaching the microscope to the minute detail to make a vast world, and at the same time he was able, with a look through the telescope, to show us the whole universe in one take, mixing his conscience with people’s feelings, and referring all this to films occupying a permanent position. In our conscience with the mind of the microscope and the heart of the telescope!!
Daoud Abdel-Sayed, class of 1967 at the Film Institute, was among his colleagues on the same class, Ali Badrakhan and Khairy Bishara.. While Badrakhan directed his first films in 73 (The Love That Was) and Bishara 82 (The Blackjack 70), Daoud was waiting for the opportunity, the years of waiting turned it into action. Positive gives him a greater degree of contemplation so that he can bear ripe fruits in (The Tramps) 1985, a deep vision of what was known as the openness cinema, he presented his own touch and the angle of his deep vision.
In recent months, the news of Daoud’s retirement was reported, and in an interview with (Sky News Arabia) the vision was clarified, Daoud over ten years has already moved away and has more than one project, including a scenario called (Love), nominated to star in Muhammad Ramadan, for one reason or another he stopped, not this It is the only project, Daoud made it clear that if he finds a healthy climate, he will return, and he has no objection to working on the platforms, as long as he enjoys his freedom of expression. His technical achievement (Libra Al Fund).
History will judge us a lot, because it is not appropriate for us not to present his tenth feature film. I hope that the artist, Minister, will find Dr. Enas Abdel-Dayem is a solution (Light the Fund)!!.