I thought that I had been asked every kind of question possible.
ABBAS KIAROSTAMIThe [Iranian] government grapples with more important issues and we can maybe say that these films don’t really exist for them. It’s not about whether they like it or don’t; it’s just not very important to them.
More Abbas Kiarostami Quotes
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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 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.
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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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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.
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I’ve often noticed that we are not able to look at what we have in front of us, unless it’s inside a frame.
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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.
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Silence doesn’t seem heavy or difficult.
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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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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.
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In the total darkness, poetry is still there, and it is there for you.
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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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Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.
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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.
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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.
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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