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A work of art doesn’t exist outside the perception of the audience.

Abbas Kiarostami

I think life is so difficult to catch, it’s so furtive, that a copy, a film, can in no way catch it and represent it.
ABBAS KIAROSTAMI

Difficult Furtive Life Represent Thinking Way
I would be too selfish if I said everyone should see my movies more than once. To say that would mean I’m just marketing my work!
ABBAS KIAROSTAMI

Marketing Mean Movie Selfish Work
A work of art doesn’t exist outside the perception of the audience.
ABBAS KIAROSTAMI

Art Audience Exist Outside Perception Work
In the total darkness, poetry is still there, and it is there for you.
ABBAS KIAROSTAMI

Darkness Desire Hope Poetry Still Total You
I think I really produce my best work in Iran.
ABBAS KIAROSTAMI

Best Iran Produce Really Thinking Work
In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
ABBAS KIAROSTAMI

Fashion Hold Hope Look Men Opinion Relationship
The one-word cinema wasn’t possible for me anymore. I’d hit a wall, a dead end. Therefore I thought I’d turn back.
ABBAS KIAROSTAMI

Cinema Dead End Possible Turn Wall Word
I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
ABBAS KIAROSTAMI

Anxiety English Familiar Man Men Responsibility
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
I thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress.
ABBAS KIAROSTAMI

Actress Challenges Acting Juliette Performance Professional Way
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.
ABBAS KIAROSTAMI

Car Film Friend Home Intimate Location Office
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
Silence doesn’t seem heavy or difficult.
ABBAS KIAROSTAMI

Difficult heavy Option Silence
I have a picture from the end of the shoot, and in it I have lost all my hair.
ABBAS KIAROSTAMI

All End Hair Lost Picture Shoot
My car’s 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.
ABBAS KIAROSTAMI

Best Car Friend Home Intimate Location Sense View
There were years when Hitchcock was like a master to me, but now I think he’s so artificial. I can watch films and say how technically beautiful they are, but I’m not impressed by any technicality.
ABBAS KIAROSTAMI

Artificial Beautiful Hitchcock Master Saw Technically Thinking Year

A work of art doesn’t exist outside the perception of the audience.

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A work of art doesn’t exist outside the perception of the audience.

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