Close-Up is a very particular film in my oeuvre. It’s a film that was made in a very particular way; mainly because I didn’t really have the time to think about how to go about making the film.
ABBAS KIAROSTAMIIt’s very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.
More Abbas Kiarostami Quotes
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In order to be universal, you have to be rooted in your own culture.
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The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn’t directing the actors so much as being directed by them. So it was a very particular film.
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My way of expression is full of complications and mystery because that’s my perception of life.
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I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I’m not the only one.
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Using non-actors has its own rules and really requires that you allow them to do their own thing.
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I didn’t just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
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There are certainties in existence, but love is something much harder to define than light and dark, life and death. I think saying you are “like” someone in love sounds right.
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I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic; so I have my doubts.
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If we’re not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas – I have no problem with 35mm.
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I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
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Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
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I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
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I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
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I’m not sure that my films show the reality of life in Iran; we show different aspects of life. Iran is a very extensive and expansive place, and sometimes, even for us who live there, some of the realities are very hard to comprehend.
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You’ve noticed that same joke told by two different people, once works, and the other time doesn’t, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize – all of this matters.
ABBAS KIAROSTAMI






