Mr. Rezai, where did your collections begin and start?
The collection has been registered since the 45th year, although my father entered the industry from the age of 42 and 43. At that time, cinema chairs were not made in Iran, and most of them came from the West American corporations and often from England, and they themselves assembled it. At the same time, my father worked in a large kitchen and chair, due to the reputation and reputation of that factory, he went there to install a number of seats he had entered. The issue is being examined, and eventually my dad does work hard to install those chairs.
I remember my father, who also liked the cinema, quoted from the day that after installing the chairs he looked at them and said to himself: "They say this is a job!"
After this first experiment, they will receive a few other installation orders, so that they will eventually find someone offering them the same type of chair. They also accept and eventually manage to produce about 200 to 300 seats similar to those of foreigners who also install it in the hall.
This process is gradually continuing, and my father's cooperation with that factory gradually expands until there are problems that would disrupt this cooperation.
I remember, for example, that my father said that the cinema owners at that time were wealthy people who were often connected to the court, and therefore they came up too much to exploit their position and did not pay for their work. It would not be possible. The same thing eventually led the owner of the factory to refrain from continuing, but my father continued to do so independently because of his interest, although he had been in partnership with the director of the factory for six months, but eventually, The partnership ended in late June of the year 46, and my father registered and founded the company "REDCO" in his name.
In any case, in my father's case, I can honestly say that he is the father of the Iranian cinema chair, and he continued his life until the year 57, although this post-revolutionary activity has always been accompanied by many ups and downs. .
If you can point to some of these ups and downs.
As you know, in the early days after the victory of the revolution, unfortunately, due to the poor vision of the cinemas in the past regime, many cinemas were burned until Imam Khomeini (RA) remarked in a speech that the cinema was in Its essence is not bad and can even be useful when playing good movies. After this speech, the process changed, but soon the country was involved in the imposed war. The fact is that during the war, more important issues are raised. For this reason, a period of recession was created in the cinema, which began to regain its power with the victories of Iran in war and domination of the cinema. On the other hand, about 62 years later, the need for the construction of conference halls and conferences to complete There were lectures in the country that also affected the course of activity, and we resumed our work with the approach of building lecture halls.
After the end of the war and the advent of the era of construction that called for the ideas of all formations and characters, it made a significant boom in the construction of lecture halls and conferences until the year 78, when my father went to God's mercy, and as director of the factory production Along with him, I was responsible for managing this collection.
Apparently, as it turns out, the company's business trend has undergone dramatic changes over the years and has evolved greatly?
Yes, that old story of the installation and construction of cinema chairs has already reached a stage where after the implementation of the foundation phase of the projects we enter and complete all stages of the design and implementation of the hall to the end, especially in The case of cinema halls, the most important element of which is the issue of sound isolation, and this issue becomes more sovereign when it comes to the creation of adjacent halls, because the sound from the hall to the other hall should not be completely over. Meanwhile, the acoustic voice is also discussed.
How do you assess the level of our salons in Iran?
I have to say that I have seen nearly 70% of our world-class competitors in the world, and I have visited their factories, and I am familiar with and close to domestic companies.
That's why I think amphitheater halls in Iran are one of the halls in the world. Like our carpets, pistachios and saffron. Of course this is my personal feeling and I do not want to claim that we have made the best amphitheater in the world, but I can safely say that we are one of the best in the world.
But the main problem with our amphitheater halls is their versatility, and we always have trouble with employers. Most of them, both state and private, expect to spend time on a variety of occasions and occasions, sometimes as aater, sometimes as a theater, occasionally for lectures, and occasionally for celebrations.
This multi-purpose look, on the one hand, introduces us to a variety of skills, that is, we have the expertise of all the manufacturers in the field, but none of our venues are at the quality level and external standards. Because in the world we do not have a saloon with all these uses.
The problem is that the literature of each of these uses is different, for example, in the theater, the whole body of the hall should reflect the sound, because the microphone is not working, but the walls of the cinema should be sound absorbing.