“I don’t like reverse-angle shots – I find them very fake and very untruthful to the viewer.”

In order to be universal, you have to be rooted in your own culture.

I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.

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.

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.

All the different nations in the world, despite their differences of appearance and religion and language and way of life, still have one thing in common, and that is what’s inside of all of us.

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.

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.

The day we run out of petrol is the day Iran will be free.

I remember when I came out of an exam thinking I had done well and then I had a clue that maybe one answer was wrong, I remembered that I rather stop knowing, stop thinking about it, appreciating life instead.

Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.

I don’t generally derive my stories from novels. I try to turn into film things I have felt or experienced.

Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.

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.

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.

Close-Up has affected later films that I’ve made.

I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it’s still nothing but a copy.

I sit and wonder why no one uses the shot fake. The shot fake, when used correctly, can eliminate a defender

I wrote about people who liked fake fireplaces in their parlor, who thought a brass horse with a clock embedded in its flank was wonderful.

If you’ve got great parents, once you grow up and have to live by yourself, you’re going to create some fake self as you get comfortable wherever you are.

When you have a lot of fake selves, most of the time it’s because you haven’t had parents around so you try to build characters to protect yourself.

There’s a part in every person that has a fake self. We’ve had this since infancy due to our parents and our upbringing.

Mostly, I think people are fake. Well, what do you expect? The fake world we live in conspires to make us all fakes.

One of the hardest things in the world is to perform on record and get someone to enjoy and feel what you’re doing. It’s unlike, like TV you can, you can fake it with the face and the crying and the bits. Recording is completely different.

I don’t like horror, which is ridiculous because I’ve been in three horror movies, but when I see those things, I see camera tricks and fake blood and actors screaming and I don’t know understand why other actors don’t see that.