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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 Kiarostami

Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.
ABBAS KIAROSTAMI

Despite Ease Great Understand Use Video
Maybe more than a teller, I am a story listener. I really enjoy listening to stories. I remember them and keep them in my mind. All of my films are a collection of small stories that have been told to me.
ABBAS KIAROSTAMI

Enjoy Listener Listening Mind More Remember Story Teller
This [the earthquake] was a very big influence on me, and the issue of life and death from then on does recur in my films.
ABBAS KIAROSTAMI

Death Earthquake Film Influence Issue Issues Life Recur
I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.
ABBAS KIAROSTAMI

Camera Digital Feelings General Grateful Red
I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
ABBAS KIAROSTAMI

Believe End Film Kids Camera Like Made Ten
I wasn’t searching for a common denominator – I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.
ABBAS KIAROSTAMI

Challenges Common Other Cultures
The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
ABBAS KIAROSTAMI

Experience Life Love More Real Teach Uncertain
Having an international voice is not really about whether we speak Persian or any other language.
ABBAS KIAROSTAMI

International Language Persian Speak Voice
It’s true that the best way of knowing yourself is to put yourself into different situations.
ABBAS KIAROSTAMI

Different Knowing Situation True Way
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.
ABBAS KIAROSTAMI

Condemned Death Director Film People
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.
ABBAS KIAROSTAMI

Actor Character Directing Film Large Real Very
Silence doesn’t seem heavy or difficult.
ABBAS KIAROSTAMI

Difficult heavy Option Silence
Using non-actors has its own rules and really requires that you allow them to do their own thing.
ABBAS KIAROSTAMI

Actor Non Actor Own REquired Thing
Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
ABBAS KIAROSTAMI

Consider Filmmaker Intuition Master Storyteller Vision
I never really learned photography.
ABBAS KIAROSTAMI

Institue Interest Learned Photography Really
I think that if you’re a digital thinker, you can use a digital camera.
ABBAS KIAROSTAMI

Camera Digital Thinker Thinking Use

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.

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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.

Related Topics

Popular Authors

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