I think being someone in love is so hard to define, so temporary, because retrospectively we often deny the state in which we were in love.
ABBAS KIAROSTAMIIt’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.
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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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 don’t like reverse-angle shots – I find them very fake and very untruthful to the viewer.
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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.
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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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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.
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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.
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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.
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I can only display what I’ve been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn’t deserve this heritage.
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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.
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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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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.
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Silence doesn’t seem heavy or difficult.
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Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it’s sometimes very difficult to direct or order them to do something.
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I think violence can never be justified. At the same time, nobody’s culture or beliefs should be insulted, that’s not something I can accept either. But I cannot justify or accept any violence at all.
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As long as I take the responsibility of the choice, I have to make the choice that is as right as possible.
ABBAS KIAROSTAMI -
I believe there’s only good cinema and bad cinema.
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Religion works on some people but not on everyone, because it says, ‘Stop thinking and accept what I tell you.’ That’s not valid for people who want to think and reflect.
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In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
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I never really learned photography.
ABBAS KIAROSTAMI -
I think that in life, being is nothing but an illusion. If we acknowledge that and accept the fact that we are in between states, that we are moving, and this movement is the nature of our lives
ABBAS KIAROSTAMI -
My way of expression is full of complications and mystery because that’s my perception of life.
ABBAS KIAROSTAMI -
The only thing that I can do is hold a mirror in front of men and women, in front of the viewer in the theater, to reflect. There is nothing but reflection that I could intend to offer the viewer of the film.
ABBAS KIAROSTAMI -
A movie is about human beings, about humanity.
ABBAS KIAROSTAMI -
I thought that I had been asked every kind of question possible.
ABBAS KIAROSTAMI -
As soon as people enter a theater they must become moron consumers who must be fed information.
ABBAS KIAROSTAMI