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 KIAROSTAMII believe there’s only good cinema and bad cinema.
More Abbas Kiarostami Quotes
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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 -
I only make notes, I don’t write dialogues in full. And the notes are very much based on my knowledge of person.
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I think I really produce my best work in Iran.
ABBAS KIAROSTAMI -
We don’t look at each other [in the car], but instead do so only when we want to. We’re allowed to look around without appearing rude. We have a big screen in front of us and side views.
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I thought that I had been asked every kind of question possible.
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My way of expression is full of complications and mystery because that’s my perception of life.
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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.
ABBAS KIAROSTAMI -
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.
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Close-Up has affected later films that I’ve made.
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In real life, when someone’s partner calls them, they can tell from the first word their partner says what their mood is.
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Anything I’ve not experienced I do not look to for a subject. I have to feel it.
ABBAS KIAROSTAMI -
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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In order to be universal, you have to be rooted in your own culture.
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The Iranian government as a whole has no relationship with my films. They’re not particularly interested, perhaps this kind of cinema is not very interesting to them.
ABBAS KIAROSTAMI -
I never reflect or convey that which I have not experienced myself.
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There are certainties in existence, but love is something much harder to define than light and dark, life and death. I think saying you are “like” someone in love sounds right.
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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.
ABBAS KIAROSTAMI -
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.
ABBAS KIAROSTAMI -
Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
ABBAS KIAROSTAMI -
I really haven’t seen The Report in a long time. I don’t have a copy, but I’ll have to see it again. I think it would be good to put both these men next to each other.
ABBAS KIAROSTAMI -
As soon as people enter a theater they must become moron consumers who must be fed information.
ABBAS KIAROSTAMI -
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.
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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.
ABBAS KIAROSTAMI -
The day we run out of petrol is the day Iran will be free.
ABBAS KIAROSTAMI -
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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I have no advice for anyone on how to live.
ABBAS KIAROSTAMI