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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.

Abbas Kiarostami

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.
ABBAS KIAROSTAMI

Character Know Not People Real Well
In order to be universal, you have to be rooted in your own culture.
ABBAS KIAROSTAMI

Culture Order Own Rooted Universal
I have no advice for anyone on how to live.
ABBAS KIAROSTAMI

Advice Anyone Ask Live Option
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.
ABBAS KIAROSTAMI

Film Grateful Information People Possible Real
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
This [the earthquake] was a very big influence on me, and the issue of life and death from then on does recur in my films.
ABBAS KIAROSTAMI

Death Earthquake Film Influence Issue Issues Life Recur
You’ve noticed that same joke told by two different people, once works, and the other time doesn’t, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize – all of this matters.
ABBAS KIAROSTAMI

Different Edit Joke Notice People Person Silence Time
I wasn’t searching for a common denominator – I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.
ABBAS KIAROSTAMI

Challenges Common Other Cultures
In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.
ABBAS KIAROSTAMI

Actor Child Children Communicate Cooperate Level Order
We are nothing but a link between our culture and what we can actually produce.
ABBAS KIAROSTAMI

Actual Between Culture Link Nothing Produce
I did not have a script [of Close Up]. I made notes in the evenings and we filmed during the day over 40 days.I didn’t sleep a wink for those 40 nights.
ABBAS KIAROSTAMI

Evening Hair Night Sleep Wink
The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
ABBAS KIAROSTAMI

Experience Life Love More Real Teach Uncertain
I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
ABBAS KIAROSTAMI

City Village Film Prefer Society Town True
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.
ABBAS KIAROSTAMI

Element Eliminated Film Kind Minimalism Progress Progressive
Film is very much a universal and common voice, and we can’t limit it to one particular culture.
ABBAS KIAROSTAMI

Common Culture Film Limit Universal Voice
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

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.

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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.

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Popular Authors

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