I never reflect or convey that which I have not experienced myself.
ABBAS KIAROSTAMIA work of art doesn’t exist outside the perception of the audience.
More Abbas Kiarostami Quotes
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With the RED, I didn’t have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera.
ABBAS KIAROSTAMI -
If it does, the fruit will not be as good as it was in its original place. This is a rule of nature. I think if I had left my country, I would be the same as the tree.
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This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark.
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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.
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If I do continue to have the opportunity to work in Iran, that’s very much what I’d prefer to do.
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I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.
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Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
ABBAS KIAROSTAMI -
I spend a lot of time doing carpentry. Sometimes there is nothing that gives me the contentment that sawing a piece of wood does.
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A movie is about human beings, about humanity.
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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.
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A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.
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Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
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Therefore, when you see the end result, it’s difficult to see who’s the director, me or them. Ultimately, everything belongs to the actors – we just manage the situation.
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I don’t generally derive my stories from novels. I try to turn into film things I have felt or experienced.
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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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Everybody knows that I am not usually patient enough to actually sit down and watch one of my own films from the beginning to the end – I never do.
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Film is very much a universal and common voice, and we can’t limit it to one particular culture.
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When I’m in the process of making a movie I’m not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences.
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It’s true that the best way of knowing yourself is to put yourself into different situations.
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Using non-actors has its own rules and really requires that you allow them to do their own thing.
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If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.
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The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
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Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
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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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Good cinema is what we can believe and bad cinema is what we can’t believe. What you see and believe in is very much what I’m interested in.
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Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is.
ABBAS KIAROSTAMI