Humira supported his fiery statements by publishing a set of documents that actually prove the theft of the work, including a paper from the text “Break a Bone”, the new writer forgot to change the names of the main characters in it, so that the traces of Humira are clearly present. In addition to publishing testimonies from artists and workers in the artistic community confirming the theft of the work, most notably a testimony from the Syrian director and actor Seif Al-Din Al-Subaie, who confirmed that the work was offered to him following it had undergone many modifications.
In an interview with Al-Modon, Hamira explained the details of the story: “I sold the Salty Life series in 2011 to Clacket Company owned by Iyad Najjar, who entrusted the directing task to Rasha Sharbatji. Towards another project following the outbreak of the Syrian revolution, as a number of actors evaded participating in the work, as he opposed the regime.A meeting took place in Najjar’s office, with a number of representatives, and they witnessed what happened at the time, including the artist Samar Sami.At that time, the actor Zuhair withdrew. Ramadan from the meeting, refusing to participate in action once morest the regime, while some argue that the time is sensitive and inappropriate to present the work, especially since the work ends with a scene of a demonstration once morest the state, injustice and corruption.
Hamira added: “After I published the story on social media, director Rasha Sharbatji wrote to me, who seemed determined that the text of “Break a Bone” was not stolen, and stated that it was impossible to accept any theft of this kind, and told me that she would publish the papers of the text she owned, That is, the 400 pages, and she will deny that I completed the work, and says that I did not write any artwork following the series “Deer in the Forest of the Wolves”, which she directed, although in fact I wrote many works following it, including “Al-Shurram Al-Shami”, “Hot Winter” and “” Narrow Corridors”, which are series that Rasha Sharbatji does not seem to consider artistic projects.”
On the similar lines between “breaking a bone” and “a salty life,” Humaira comments: “The text is 11 years old, and the work ends with a scene of the first demonstration once morest injustice and corruption, where people refuse to remain silent regarding injustice. We must note that the Syrian revolution had not yet erupted. Yet on the ground when I wrote the text that talks regarding a senior official infected with the Aider virus named Abu Jarir, and he does the impossible so that no one knows that he is infected, so that he can preserve his image and position, and not feel defeated and close to death. Mutual, he is always afraid of revealing his truth, and people fear his power and authority.His son Jarir, owns a media institution, through which he approaches intellectuals and artists, and tries to present himself as an educated and liberal person. “.
Hamira continues: “The official, Abu Jarir, transmits the AIDS virus to his ex-wife, and he has a strong relationship with her two brothers who support him in power, and they have strong corruption ties, so they are silent when they learn that he transmitted the virus to their sister, and he is secretly married to the daughter of his driver. These dramatic lines exist. Entirely in “Breaking a Bone”, but it was cast forward 11 years, and the viewer can notice that the work contains the same spirit of writing found in the series “Deer in the Forest of Wolves” because the writer is one. The drama, especially the characters, because some events are in the summits and others on the ground, due to the new writer’s insertion of new characters, mixing them with the main characters in the original text.
It appears that this was not the first attempt to rewrite the text of “A Salty Life” without the assistance or permission of the original author. Hamira says: “A dispute broke out between me and producer Iyad Najjar in Rasha Sharbatji’s house, and a rupture broke out between us. After a period of time, he sent the text to writer Samer Radwan to amend it, but the latter refused to amend a text written by Fouad Hamira, and at that time Rasha Sharbatji did not raise any objection, Note that sending the text to a second writer is a stab in the abilities of the original writer.
Regarding the rights to publish the text, Humaira said: “There are no copyrights in Syria. When the texts are sold to production companies in Syria, the writer loses any rights in the text, so the company is free to delete and modify. Drama in Syria has risen at the hands of writers, not directors, as the viewer wants That he sees the story and does not care regarding the movement of the camera and how the scenes are cut.”
And perhaps the worst of it is the way the work was promoted, as Syrian drama pages began to promote that Sharbatji, with its new series, supports young talents, and platforms such as “ET Syria” began to exaggerate the promotion of the series and its writer Ali Saleh, who is considered “Breaking a Bone” is his first TV script. Humaira comments: “This writer was enrolled in a scriptwriting workshop for writer Rania Al-Jabal. Does the audience remember any text by Rania Al-Jabal? How can her workshop produce a writer with such a text?”