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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

I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don’t use my camera anymore as a camera. I don’t feel it as a camera.
ABBAS KIAROSTAMI

Anymore Blessing Camera Changed Digital Filmmaker Life People
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
I think I really produce my best work in Iran.
ABBAS KIAROSTAMI

Best Iran Produce Really Thinking Work
The digital camera has given me total freedom and a different way of filming.
ABBAS KIAROSTAMI

Camera Different Digital Filming Freedom Way
I never really learned photography.
ABBAS KIAROSTAMI

Institue Interest Learned Photography Really
The Iranian government as a whole has no relationship with my films. They’re not particularly interested, perhaps this kind of cinema is not very interesting to them.
ABBAS KIAROSTAMI

Cinema Film Government Interesting Iranian Perhaps Relationship
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 have no advice for anyone on how to live.
ABBAS KIAROSTAMI

Advice Anyone Ask Live Option
I’ve often noticed that we are not able to look at what we have in front of us, unless it’s inside a frame.
ABBAS KIAROSTAMI

Frame Front Inside Notice Often
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
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
Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
ABBAS KIAROSTAMI

Cinema Giving Grandchildren Lesson Life Opportunity
I did not have a script [of Close Up]. I made notes in the evenings and we filmed during the day over 40 days.I didn’t sleep a wink for those 40 nights.
ABBAS KIAROSTAMI

Evening Hair Night Sleep Wink
Directors don’t always create, they can also destroy with too many demands.
ABBAS KIAROSTAMI

Always Create Demand Destroy Director
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.
ABBAS KIAROSTAMI

Action Camera Digital Doubt Light Produces Proud Video Year
I prefer the films that put their audience to sleep in the theater. Some films have made me doze off in the theater, but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for weeks.
ABBAS KIAROSTAMI

Audience Film Morning Night Sleep Theatre

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.

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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.

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