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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

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

Close up Director Film Oeuvre Thinking Time Way
I thought that I had been asked every kind of question possible.
ABBAS KIAROSTAMI

Asked Kind Possible Question
Film is very much a universal and common voice, and we can’t limit it to one particular culture.
ABBAS KIAROSTAMI

Common Culture Film Limit Universal Voice
We are nothing but a link between our culture and what we can actually produce.
ABBAS KIAROSTAMI

Actual Between Culture Link Nothing Produce
I think that if you’re a digital thinker, you can use a digital camera.
ABBAS KIAROSTAMI

Camera Digital Thinker Thinking Use
I thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress.
ABBAS KIAROSTAMI

Actress Challenges Acting Juliette Performance Professional Way
When you take a tree that is rooted in the ground, and transfer it from one place to another, the tree will no longer bear fruit.
ABBAS KIAROSTAMI

Another Bear Country Fruit Ground Place Rooted Thinking Transfer Tree
The [Iranian] government grapples with more important issues and we can maybe say that these films don’t really exist for them. It’s not about whether they like it or don’t; it’s just not very important to them.
ABBAS KIAROSTAMI

Exist Government Grapple Important Issue Issues
Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is.
ABBAS KIAROSTAMI

Couple Curtain Guess Neighbour People Sibling
It’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.
ABBAS KIAROSTAMI

Camera Digital Intimate Moments Light
I have a picture from the end of the shoot, and in it I have lost all my hair.
ABBAS KIAROSTAMI

All End Hair Lost Picture Shoot
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
My car is my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We’re in the most comfortable seats because we’re not facing each other, but sitting side by side.
ABBAS KIAROSTAMI

Car Film Friend Home Intimate Location Office
If I do continue to have the opportunity to work in Iran, that’s very much what I’d prefer to do.
ABBAS KIAROSTAMI

Continue Iran Opportunity Prefer
I have no advice for anyone on how to live.
ABBAS KIAROSTAMI

Advice Anyone Ask Live Option
Everybody knows that I am not usually patient enough to actually sit down and watch one of my own films from the beginning to the end – I never do.
ABBAS KIAROSTAMI

Actually Beginning End Film Patient Watch Down

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.

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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.

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Popular Authors

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