“Anything I’ve not experienced I do not look to for a subject. I have to feel it.”

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.

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.

I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.

If I do continue to have the opportunity to work in Iran, that’s very much what I’d prefer to do.

When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I’ve met in real life.

In my films, I try to give people as little information as possible, which is still much more than what they get in real life. I feel that they should be grateful for the little bit of information I give them.

I’m not sure that my films show the reality of life in Iran; we show different aspects of life. Iran is a very extensive and expansive place, and sometimes, even for us who live there, some of the realities are very hard to comprehend.

I spend a lot of time doing carpentry. Sometimes there is nothing that gives me the contentment that sawing a piece of wood does.

People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people’s minds to lazy minds.

I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I’m not the only one.

No one who has experienced facing a screaming, boiling, hysterical audience can avoid feeling shivers in the spine. It’s a thin line between celebration and menace.

I think talented people are priceless. And I think people that are knowledgeable and experienced – and I think there’s a balance of new talent and experience, which makes, I think, Estee Lauder really special.

And the level of intense tragedy that so many people have experienced in this world,

Feeling is everything I have experienced or thought.

To give them the chance to notice the passage of time as experienced by others as a reminder of what it is like to be alive.

I never reflect or convey that which I have not experienced myself.

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

However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.