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 KIAROSTAMIDirectors don’t always create, they can also destroy with too many demands.
More Abbas Kiarostami Quotes
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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.
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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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The digital camera has given me total freedom and a different way of filming.
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If we’re not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas – I have no problem with 35mm.
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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.
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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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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.
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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.
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My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
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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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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!
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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.
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In my mind, there isn’t as much of a distinction between documentary and fiction as there is between a good movie and a bad one.
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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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The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn’t directing the actors so much as being directed by them. So it was a very particular film.
ABBAS KIAROSTAMI