We had the interview with Mr. Byambadorj Altankhuyag (Byamba), CEO of “Horizon Quests” LLC and Cultural Advisor at Marco Polo TV series. He has been continuously working in tourism industry since 1996. We talked in the interview about the series, how Mongolian traditions and culture features are displayed in the series and other interesting topics.
Let us start our interview with how you became cultural advisor at Marco Polo TV series?
General producer and writer of Marco Polo TV series John Fusco first came to Mongolia with his 13-year-old boy in 2007. The boy had been fond of Mongolian history and traditions since his early childhood, so that he had been asking his dad for many years to travel to Mongolia. He finally convinced his dad in 2007, that if we do not seize the opportunity now to travel to Mongolia, we never do it, when John Fusco with his boy came to Beijing to shoot “Forbidden Kingdom” film. Then, John Fusco took two-week-break from the film shooting and brought his boy to Mongolia. I happened to work as his tour guide in Mongolia. We developed the tour itinerary on our own, which was meant to allow our tourists to experience with firsthand great Mongolian history, culture and lifestyle. Throughout the whole journey, we discussed about not only Mongolian culture and traditions but also ancient kings and their military campaigns. John loves horses; he worked respectively as writers of Spirit animation film and Hidalgo feature film. During 10-day journey that continued from Kharkhorin city to Khustai Hill, we passed by several destinations, related to the Silk Road. When you discuss about the Silk Road, you are drawn to talk about Khubilai Khan. The boy’s questions about the history and culture sometimes amazed me because he had very deep knowledge of us, and he might be more informed than Mongolian peers of his age. Instead his dad, John Fusco, just listened to what we discussed and rarely asked questions at first.
Then, he decided to create a movie about Marco Polo during the journey?
John Fusco used to study a lot with a great interest about Marco Polo. Therefore, John might be driven to create something about Marco Polo from the beginning prior to the journey, during which we chatted a lot about Khubilai Khan, ancient Mongolian history and Mongols’ impact on world history. I think he was encouraged from then that he should make a film work about the figure. He once told me that I gave him the idea and encouragement to start making the series. Now I am working as cultural advisor at the TV series. In respect to my contributions to the series, one of characters was named as my name and called “Byamba”, who is bastard of Khubila Khan, played by Australian actor Talia’uli “Uli” Latukefu.
So, did he reach out to you few years later after the journey and suggest you the job?
Since the journey, we had been in touch with each other by exchanging emails, when he told me he was working to create a film about Marco Polo. But as I know, he then was aiming to create the feature film instead of the series. He did not ask me any advice, because he has a broad knowledge of Marco Polo and eastern culture. Then after cleared to make the series in 2011 when we started to contact regularly, I was suggested full time job to work as cultural advisor at the series.
What are main duties of working as cultural advisor?
It was very intriguing and unique to work as cultural advisor. For example, I worked not only as a consultant on scenes featuring Mongolian traditions and culture to give audience realistic information but also to help on keeping up originality and authencity of the history and culture. Sometimes I was required to provide historical information to the film crew and in other words I worked as historian at same time. Also, my responsibilities were diversified to teach body languages and to help actors and actresses to behave in Mongolian way in particular moments. Since there was the dialogue coach in the film crew, I was not asked much to work with them in that department. But I mentored them how to pronounce Mongolian words properly in cooperation with the dialogue coach, whose role is to create the final version of the adjusted pronunciation that every actor and actresses are able to speak smoothly in their dialogues.
Moreover, I advised on simple but fundamental matters of the film, such as where to install items in Mongol ger, how Mongolian people deal when it comes to an argument, and the organizational structure of ancient Mongolian towns. For example, Mongol khans (kings) rarely shout or show their emotions during arguments and discussions, I suggested. But actors and actresses can have certain amount of liberty in order to live up their characters, so that I compromised on certain matters. What I mostly focused on was about helping on proper display of Mongol livelihoods and traditions in the film. I closely worked with all supporting writers and John Fusco in order to bring the most authentic display of Mongol culture. As I noticed, the script had been constantly changed in much or less due to logistics, finance, timing and other factors. Thus, writers used to discuss with me about possible changes in the script. For example, we discussed about opportunities of adding eliminated parts in the script into other scenes.
Were you only one to advise about the culture at the series?
I was the only one on the scene to advise about the cultural matters. I am not quite sure whether the film crew contacts with other consultants for the cultural advice. Producers working at the series know other Mongolian professionals except me, so that I would not deny they did not work with others in that department. For example, Mongolian producer has been appointed to work at the second season of the series.
You must have studied a lot to be qualified as cultural advisor?
Definitely. Since I was cleared to take the responsibility, I had done enormous amount of research and read a lot of books and research works. For example, when John Fusco shared his information of Marco Polo with me, I always tried to be aware of every bit of information exchanged and tried to study in details. Also, I labored a lot on how to deliver what I know to members of the film crew; in other words, delivery skill is very fundamental in this role.
What has been the most challenging task in your job?
I have not had such enormously challenging task for this job. Generally, it is very crucial to see something in realistic and objective way if you work in the tourism sector. Anything can happen anytime. Therefore, you are forced sometimes to make a compromise or negotiation with your partners and colleagues at certain matters. For example, it is shown in the series that Khubilai Khan has the throne while his chief wife, Chabi queen, does not have it, which is contrast to the fact that Mongolian queens had the seat. Also, the design and shape of items and features shown in the movie could be different from what we, Mongols, are familiar with. Moreover, there were certain scenes in the script, which I would have modified – therefore, I had to make compromise and get adjusted with a situation, which required me to hold regular meetings with the film producers, actors, actresses, writers and specialists from the art department. At the meetings, I suggested the film crew to have certain level of freedom at creating items or making changes in relation to Khubilai Khan. The reason is that the city, which existed during Khubilai’s era, was very metropolitan and multi-cultural and in addition, the queen Chabi had the high sense of design. Also, Khubilai Khan’s family was open to new things and eager to try them, so that there could be items or behaviors presented differently from what we expected. As previously said, it is what I compromised for, which might be the most challenging part of my job in the film.
People seemed like having mixed reviews of the series after the premiere. Particularly, Mongolian people had various opinions. Some people agreed that there are certain creativity and fictional stuff since it is the film while others blamed the film failed to display authencity and originality of Mongolian history, traditions and culture. Is this reason behind that you were compelled to compromise sometimes?
Yes, it is true. Saying additionally, the very first scene of the film shows that Marco Polo laying down at the deathbed told his family members and friends “I revealed only half of what I saw and experienced”. Therefore, people have become familiar through writings and history, with only the half of what he saw during his travel to Mongol Empire, while there could be the other half, which had never been told. Meaning that artists have certain amount of liberty to bring creativity into the film based on the untold half of the story. But as cultural advisor, I have always tried to put limitations on the excessive presentation and to make it more identical to Mongolian livelihood.
As I watched the film series, I had not noticed any false display of the culture, traditions and historical events. Therefore, I concluded that the film crew worked a hard on that aspect. But I would not argue if they took different approach in presenting some other details?
I agree with you. We worked with a great deal of efforts to make the film related to Mongolian audience as much as possible. As we tried to reflect historical events in factual away, we did not limit ourselves to be creative on other hand. We always considered these two factors every time we did the shooting. Also, I was very glad that actors and actresses made full efforts to get to know about their characters and discussed with me all the time. Every week I organized “Mongolian Hour” in order to provide information of certain topics and discussed with them afterwards during the shooting. They allowed me to talk more in details about cultural topics by showing curiosity with a lot of questions.
You were seen in few scenes of the film. Did you know earlier that you would be playing in minor part of the film or not?
I did not expect to appear in the film. Prior to travelling to Malaysia for the shooting, John Fusco approached me by saying “We need Mongolian faces in the film. Even single Mongolian face will be appreciated. Would you try?” My role does not have dialogue part and is seen instantly in the film. It took us time and efforts to find out Mongolian faces from Malaysian casting for which, the film crew registered large number of people. For example, only 4-5 people out of 50 in total had been chosen, as they were believed to look like Mongolian. Total of 6-8 Mongolian people including actor Amarsaikhan and me starred in the first season.
The film crew arrived in Mongolia in last spring in order to do the casting for Mongolian people for the second season. I heard that number of Mongolian people were qualified for the second season. Please share information with us about the matter?
I do not have the exact information about how many Mongolian actors and people were selected for what types of roles and scenes in the film. What I noticed from the casting in Mongolia is that Mongolian actors and actresses fall only short in language category. Otherwise, they are very talented and at as same level as foreign actors. As I know, Miss Bayartsetseg and actor Tserenbold were selected and given roles by the film crew. One thing to say from the casting is that as soon as I saw actor Tserenbold at the audition, I was impressed by his talent and quite sure that he would do well in the film. Flashback scenes including portraying Chinggis Khan and Mongolia of his era will be presented in the second season. Also, historical figures including Jakhakhambu and Sorkhagtani might be played by Mongolian actors and actresses. But I do not have full information about the auditions so far.
Number of Mongolian people to feature in the second season has grown compared to that in the first one. Also, you mentioned that there were flashback scenes presenting previous era of Mongol Empire. Does it mean that your responsibilities and roles to expand in the second season?
I would say yes. The second season will present more scenes of Mongol Empire rather Yuan dynasty, and Mongolian traditions and culture, so that I spent more time working with Mongolian people playing minor roles or in public scenes. Also, I worked closely with the film’s art department on decoration parts. Recent shootings in Hungary featured a number of Mongolian people. There are Mongolian people in Hungary, who have a certain amount of experience of playing in public scenes of films. And, as film shootings are announced to happen there, they usually go to auditions and play in public scenes if qualified. This time, 40-50 Mongolian people living in Hungary accompanied by around another 20 coming from Mongolia participated in the shootings in Hungary. In general, around 30 Mongolian people at least enrolled in each shooting there.
Were you given a role in the second season? If so, do you have a dialogue part?
I will continue playing the role I portrayed in the first season, which was the role of general for Ariq Bukh Khan. Despite his army supposed to submit to Khubila Khan after Ariq Bukh Khan’s death, they would be joining the army of Kaidu Khan, the descendant of Ugudei Khan’s court. Therefore, I will appear as the general of Kaidu Khan in the second season.
For last three months, you have travelled in Europe for the film shootings, please share with us about your experience?
The shootings related to nomadic livelihood portraying the northern region of Yuan Dynasty (current territory of Mongolia and motherland of Mongol Empire) were done in several European countries, because European landscape has similarities with Mongolian one. Additionally, Hungary is one of the locations in Europe, where Hollywood productions usually choose for film shootings. The country’s film industry has highly developed, with suppliers able to provide necessary equipment and facilities for the shootings, which allows film producers go there just with their laptops to make shootings. The film industry is actually big business where large amount of money is invested. Thus, local businesses of a country where big budget film’s shootings are done are quickly growing, with making a lot of revenues. For example, the first season of Marco Polo TV series was made with total budget of around USD 90 million, USD 9 million budgeted for each episode.
What is the reason behind that the film shootings related to Mongolian culture and nomadic lifestyle are not done in Mongolia?
The main reason not to make the film shootings in Mongolia is that we do not have necessary equipment and facilities, with lack of infrastructure to support the film operations in rural areas. For example, there are not sufficient numbers of hotels, service places, and transportation to support the shootings in rural areas, as it is quite difficult to lease facilities and equipment from a single individual or entity because nearly each part of belongs to different people. But I heard that the project to make a big leap in local film industry is under development. Back to the topic, because of the abovementioned difficulties, the second season’s shootings will not be done in Mongolia. In fact, it is such an opportunity for us if we can seize it.
What could be actual benefits of Marco Polo TV series for us?
First of all, it is a big and free promotion for our country to the outside. Also, provided that the shootings are done in Mongolia will definitely boost the tourism industry and increase the number of foreigners to travel to Mongolia. Foreigners would give more attention to our country and be interested in doing businesses with local companies. Then, I want officials and local people to see such opportunities generating from the series and to fully support the film.
The series creators visited Mongolia and met high profile officials. The first goal was to present the film and secondly, they discussed with officials about country’s potential contributions into the film. And, two sides agreed at first to cooperate on increasing number of Mongolian people to get involved in the series. As a result, Mongolian government set to cover accommodation and transportation costs for Mongolian actors to participate in the second season, while their salaries and food costs being provided by Marco Polo production.
Depending on how well the film is received, it will be decided whether to keep up the franchise?
It will directly depend on how people receive the film. As I work at the film, I am very confident to say that it has a great potential, because there are a lot of historical events and rich stories to develop and show in next seasons.
Therefore, Mongolian people should show a tremendous support for the film to succeed. Numerous people had reacted negatively to the first season and wrote unfavorable reviews about the film, as I noticed. Previously, the film production from Inner Mongolia, which created the series of Chinggis Khan based on our history, succeeded in this department, while others failed to demonstrate our history and cultural features realistically and beautifully. But Marco Polo TV series is world-level film, which is the first and one to standout in terms of the authentic demonstration of our history, culture and traditions, with the potential to introduce us to the rest of the world. Additionally, the film’s writer, John Fusco, travelled and loved our country, so that he tries to show positives of our country as well as originality of our history through the film. Currently, we are not capable of creating a big budget film. So, we should support and positively promote what others are creating rather than being critical without thoughts.
Finally, as I mentioned at the beginning of the interview, the film creators aim to present the history through eyes of Marco Polo; in other words, how he saw and what he spoke about our history and empire.
We had the interview with Mr. Byambadorj Altankhuyag (Byamba), CEO of “Horizon Quests” LLC and Cultural Advisor at Marco Polo TV series. He has been continuously working in tourism industry since 1996. We talked in the interview about the series, how Mongolian traditions and culture features are displayed in the series and other interesting topics.
Let us start our interview with how you became cultural advisor at Marco Polo TV series?
General producer and writer of Marco Polo TV series John Fusco first came to Mongolia with his 13-year-old boy in 2007. The boy had been fond of Mongolian history and traditions since his early childhood, so that he had been asking his dad for many years to travel to Mongolia. He finally convinced his dad in 2007, that if we do not seize the opportunity now to travel to Mongolia, we never do it, when John Fusco with his boy came to Beijing to shoot “Forbidden Kingdom” film. Then, John Fusco took two-week-break from the film shooting and brought his boy to Mongolia. I happened to work as his tour guide in Mongolia. We developed the tour itinerary on our own, which was meant to allow our tourists to experience with firsthand great Mongolian history, culture and lifestyle. Throughout the whole journey, we discussed about not only Mongolian culture and traditions but also ancient kings and their military campaigns. John loves horses; he worked respectively as writers of Spirit animation film and Hidalgo feature film. During 10-day journey that continued from Kharkhorin city to Khustai Hill, we passed by several destinations, related to the Silk Road. When you discuss about the Silk Road, you are drawn to talk about Khubilai Khan. The boy’s questions about the history and culture sometimes amazed me because he had very deep knowledge of us, and he might be more informed than Mongolian peers of his age. Instead his dad, John Fusco, just listened to what we discussed and rarely asked questions at first.
Then, he decided to create a movie about Marco Polo during the journey?
John Fusco used to study a lot with a great interest about Marco Polo. Therefore, John might be driven to create something about Marco Polo from the beginning prior to the journey, during which we chatted a lot about Khubilai Khan, ancient Mongolian history and Mongols’ impact on world history. I think he was encouraged from then that he should make a film work about the figure. He once told me that I gave him the idea and encouragement to start making the series. Now I am working as cultural advisor at the TV series. In respect to my contributions to the series, one of characters was named as my name and called “Byamba”, who is bastard of Khubila Khan, played by Australian actor Talia’uli “Uli” Latukefu.
So, did he reach out to you few years later after the journey and suggest you the job?
Since the journey, we had been in touch with each other by exchanging emails, when he told me he was working to create a film about Marco Polo. But as I know, he then was aiming to create the feature film instead of the series. He did not ask me any advice, because he has a broad knowledge of Marco Polo and eastern culture. Then after cleared to make the series in 2011 when we started to contact regularly, I was suggested full time job to work as cultural advisor at the series.
What are main duties of working as cultural advisor?
It was very intriguing and unique to work as cultural advisor. For example, I worked not only as a consultant on scenes featuring Mongolian traditions and culture to give audience realistic information but also to help on keeping up originality and authencity of the history and culture. Sometimes I was required to provide historical information to the film crew and in other words I worked as historian at same time. Also, my responsibilities were diversified to teach body languages and to help actors and actresses to behave in Mongolian way in particular moments. Since there was the dialogue coach in the film crew, I was not asked much to work with them in that department. But I mentored them how to pronounce Mongolian words properly in cooperation with the dialogue coach, whose role is to create the final version of the adjusted pronunciation that every actor and actresses are able to speak smoothly in their dialogues.
Moreover, I advised on simple but fundamental matters of the film, such as where to install items in Mongol ger, how Mongolian people deal when it comes to an argument, and the organizational structure of ancient Mongolian towns. For example, Mongol khans (kings) rarely shout or show their emotions during arguments and discussions, I suggested. But actors and actresses can have certain amount of liberty in order to live up their characters, so that I compromised on certain matters. What I mostly focused on was about helping on proper display of Mongol livelihoods and traditions in the film. I closely worked with all supporting writers and John Fusco in order to bring the most authentic display of Mongol culture. As I noticed, the script had been constantly changed in much or less due to logistics, finance, timing and other factors. Thus, writers used to discuss with me about possible changes in the script. For example, we discussed about opportunities of adding eliminated parts in the script into other scenes.
Were you only one to advise about the culture at the series?
I was the only one on the scene to advise about the cultural matters. I am not quite sure whether the film crew contacts with other consultants for the cultural advice. Producers working at the series know other Mongolian professionals except me, so that I would not deny they did not work with others in that department. For example, Mongolian producer has been appointed to work at the second season of the series.
You must have studied a lot to be qualified as cultural advisor?
Definitely. Since I was cleared to take the responsibility, I had done enormous amount of research and read a lot of books and research works. For example, when John Fusco shared his information of Marco Polo with me, I always tried to be aware of every bit of information exchanged and tried to study in details. Also, I labored a lot on how to deliver what I know to members of the film crew; in other words, delivery skill is very fundamental in this role.
What has been the most challenging task in your job?
I have not had such enormously challenging task for this job. Generally, it is very crucial to see something in realistic and objective way if you work in the tourism sector. Anything can happen anytime. Therefore, you are forced sometimes to make a compromise or negotiation with your partners and colleagues at certain matters. For example, it is shown in the series that Khubilai Khan has the throne while his chief wife, Chabi queen, does not have it, which is contrast to the fact that Mongolian queens had the seat. Also, the design and shape of items and features shown in the movie could be different from what we, Mongols, are familiar with. Moreover, there were certain scenes in the script, which I would have modified – therefore, I had to make compromise and get adjusted with a situation, which required me to hold regular meetings with the film producers, actors, actresses, writers and specialists from the art department. At the meetings, I suggested the film crew to have certain level of freedom at creating items or making changes in relation to Khubilai Khan. The reason is that the city, which existed during Khubilai’s era, was very metropolitan and multi-cultural and in addition, the queen Chabi had the high sense of design. Also, Khubilai Khan’s family was open to new things and eager to try them, so that there could be items or behaviors presented differently from what we expected. As previously said, it is what I compromised for, which might be the most challenging part of my job in the film.
People seemed like having mixed reviews of the series after the premiere. Particularly, Mongolian people had various opinions. Some people agreed that there are certain creativity and fictional stuff since it is the film while others blamed the film failed to display authencity and originality of Mongolian history, traditions and culture. Is this reason behind that you were compelled to compromise sometimes?
Yes, it is true. Saying additionally, the very first scene of the film shows that Marco Polo laying down at the deathbed told his family members and friends “I revealed only half of what I saw and experienced”. Therefore, people have become familiar through writings and history, with only the half of what he saw during his travel to Mongol Empire, while there could be the other half, which had never been told. Meaning that artists have certain amount of liberty to bring creativity into the film based on the untold half of the story. But as cultural advisor, I have always tried to put limitations on the excessive presentation and to make it more identical to Mongolian livelihood.
As I watched the film series, I had not noticed any false display of the culture, traditions and historical events. Therefore, I concluded that the film crew worked a hard on that aspect. But I would not argue if they took different approach in presenting some other details?
I agree with you. We worked with a great deal of efforts to make the film related to Mongolian audience as much as possible. As we tried to reflect historical events in factual away, we did not limit ourselves to be creative on other hand. We always considered these two factors every time we did the shooting. Also, I was very glad that actors and actresses made full efforts to get to know about their characters and discussed with me all the time. Every week I organized “Mongolian Hour” in order to provide information of certain topics and discussed with them afterwards during the shooting. They allowed me to talk more in details about cultural topics by showing curiosity with a lot of questions.
You were seen in few scenes of the film. Did you know earlier that you would be playing in minor part of the film or not?
I did not expect to appear in the film. Prior to travelling to Malaysia for the shooting, John Fusco approached me by saying “We need Mongolian faces in the film. Even single Mongolian face will be appreciated. Would you try?” My role does not have dialogue part and is seen instantly in the film. It took us time and efforts to find out Mongolian faces from Malaysian casting for which, the film crew registered large number of people. For example, only 4-5 people out of 50 in total had been chosen, as they were believed to look like Mongolian. Total of 6-8 Mongolian people including actor Amarsaikhan and me starred in the first season.
The film crew arrived in Mongolia in last spring in order to do the casting for Mongolian people for the second season. I heard that number of Mongolian people were qualified for the second season. Please share information with us about the matter?
I do not have the exact information about how many Mongolian actors and people were selected for what types of roles and scenes in the film. What I noticed from the casting in Mongolia is that Mongolian actors and actresses fall only short in language category. Otherwise, they are very talented and at as same level as foreign actors. As I know, Miss Bayartsetseg and actor Tserenbold were selected and given roles by the film crew. One thing to say from the casting is that as soon as I saw actor Tserenbold at the audition, I was impressed by his talent and quite sure that he would do well in the film. Flashback scenes including portraying Chinggis Khan and Mongolia of his era will be presented in the second season. Also, historical figures including Jakhakhambu and Sorkhagtani might be played by Mongolian actors and actresses. But I do not have full information about the auditions so far.
Number of Mongolian people to feature in the second season has grown compared to that in the first one. Also, you mentioned that there were flashback scenes presenting previous era of Mongol Empire. Does it mean that your responsibilities and roles to expand in the second season?
I would say yes. The second season will present more scenes of Mongol Empire rather Yuan dynasty, and Mongolian traditions and culture, so that I spent more time working with Mongolian people playing minor roles or in public scenes. Also, I worked closely with the film’s art department on decoration parts. Recent shootings in Hungary featured a number of Mongolian people. There are Mongolian people in Hungary, who have a certain amount of experience of playing in public scenes of films. And, as film shootings are announced to happen there, they usually go to auditions and play in public scenes if qualified. This time, 40-50 Mongolian people living in Hungary accompanied by around another 20 coming from Mongolia participated in the shootings in Hungary. In general, around 30 Mongolian people at least enrolled in each shooting there.
Were you given a role in the second season? If so, do you have a dialogue part?
I will continue playing the role I portrayed in the first season, which was the role of general for Ariq Bukh Khan. Despite his army supposed to submit to Khubila Khan after Ariq Bukh Khan’s death, they would be joining the army of Kaidu Khan, the descendant of Ugudei Khan’s court. Therefore, I will appear as the general of Kaidu Khan in the second season.
For last three months, you have travelled in Europe for the film shootings, please share with us about your experience?
The shootings related to nomadic livelihood portraying the northern region of Yuan Dynasty (current territory of Mongolia and motherland of Mongol Empire) were done in several European countries, because European landscape has similarities with Mongolian one. Additionally, Hungary is one of the locations in Europe, where Hollywood productions usually choose for film shootings. The country’s film industry has highly developed, with suppliers able to provide necessary equipment and facilities for the shootings, which allows film producers go there just with their laptops to make shootings. The film industry is actually big business where large amount of money is invested. Thus, local businesses of a country where big budget film’s shootings are done are quickly growing, with making a lot of revenues. For example, the first season of Marco Polo TV series was made with total budget of around USD 90 million, USD 9 million budgeted for each episode.
What is the reason behind that the film shootings related to Mongolian culture and nomadic lifestyle are not done in Mongolia?
The main reason not to make the film shootings in Mongolia is that we do not have necessary equipment and facilities, with lack of infrastructure to support the film operations in rural areas. For example, there are not sufficient numbers of hotels, service places, and transportation to support the shootings in rural areas, as it is quite difficult to lease facilities and equipment from a single individual or entity because nearly each part of belongs to different people. But I heard that the project to make a big leap in local film industry is under development. Back to the topic, because of the abovementioned difficulties, the second season’s shootings will not be done in Mongolia. In fact, it is such an opportunity for us if we can seize it.
What could be actual benefits of Marco Polo TV series for us?
First of all, it is a big and free promotion for our country to the outside. Also, provided that the shootings are done in Mongolia will definitely boost the tourism industry and increase the number of foreigners to travel to Mongolia. Foreigners would give more attention to our country and be interested in doing businesses with local companies. Then, I want officials and local people to see such opportunities generating from the series and to fully support the film.
The series creators visited Mongolia and met high profile officials. The first goal was to present the film and secondly, they discussed with officials about country’s potential contributions into the film. And, two sides agreed at first to cooperate on increasing number of Mongolian people to get involved in the series. As a result, Mongolian government set to cover accommodation and transportation costs for Mongolian actors to participate in the second season, while their salaries and food costs being provided by Marco Polo production.
Depending on how well the film is received, it will be decided whether to keep up the franchise?
It will directly depend on how people receive the film. As I work at the film, I am very confident to say that it has a great potential, because there are a lot of historical events and rich stories to develop and show in next seasons.
Therefore, Mongolian people should show a tremendous support for the film to succeed. Numerous people had reacted negatively to the first season and wrote unfavorable reviews about the film, as I noticed. Previously, the film production from Inner Mongolia, which created the series of Chinggis Khan based on our history, succeeded in this department, while others failed to demonstrate our history and cultural features realistically and beautifully. But Marco Polo TV series is world-level film, which is the first and one to standout in terms of the authentic demonstration of our history, culture and traditions, with the potential to introduce us to the rest of the world. Additionally, the film’s writer, John Fusco, travelled and loved our country, so that he tries to show positives of our country as well as originality of our history through the film. Currently, we are not capable of creating a big budget film. So, we should support and positively promote what others are creating rather than being critical without thoughts.
Finally, as I mentioned at the beginning of the interview, the film creators aim to present the history through eyes of Marco Polo; in other words, how he saw and what he spoke about our history and empire.