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I never really learned photography.

Abbas Kiarostami

While shooting Ten I was sitting in the backseat, but I didn’t interfere. Sometimes, I was following in another car, so I was not even present on the “set”, because I thought they would work better in my absence.
ABBAS KIAROSTAMI

Backseat Car Interfere Present Shooting Sitting Ten
I think I really produce my best work in Iran.
ABBAS KIAROSTAMI

Best Iran Produce Really Thinking Work
It seems that film-makers are being divided between those working in digital and those who are not. I think it’s not something predetermined – it all depends on what project we have in mind, and on that basis we choose the medium.
ABBAS KIAROSTAMI

Digital Film Maker Mind Predetermined Something Thinking Working
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
In my mind, there isn’t as much of a distinction between documentary and fiction as there is between a good movie and a bad one.
ABBAS KIAROSTAMI

Bad Distinction Documentary Fiction Good Good Movie Mind Movie
In my experience as a director, I think there is obviously something of the way men – maybe that’s a common point with Shirin – the way men see women in the film, and the way these two characters see each other.
ABBAS KIAROSTAMI

Character Director Experience Men Shirin Thinking
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
Therefore, when you see the end result, it’s difficult to see who’s the director, me or them. Ultimately, everything belongs to the actors – we just manage the situation.
ABBAS KIAROSTAMI

Actors End Belong Difficult Director Film Ultimately
Good cinema is what we can believe and bad cinema is what we can’t believe. What you see and believe in is very much what I’m interested in.
ABBAS KIAROSTAMI

Believe Cinema Good Interested
Having an international voice is not really about whether we speak Persian or any other language.
ABBAS KIAROSTAMI

International Language Persian Speak Voice
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
ABBAS KIAROSTAMI

Audience Back Director Film Looks Film Managed Surprised
It’s not so much a question of whether we’ve shot it through 35mm or digital video; what is important is whether the audience accepts it as real.
ABBAS KIAROSTAMI

Accept Audience Digital Important Question Real Shot Video
I don’t like reverse-angle shots – I find them very fake and very untruthful to the viewer.
ABBAS KIAROSTAMI

Angle Fake Reverse Shot Untruthful
Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
ABBAS KIAROSTAMI

America Cinema Critics Few Iran More People Unfortunately
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
A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.
ABBAS KIAROSTAMI

Advantage Camera Digital Doe Film Influence Making Video

I never really learned photography.

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I never really learned photography.

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