I don’t like reverse-angle shots – I find them very fake and very untruthful to the viewer.
ABBAS KIAROSTAMIMy car’s 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.
More Abbas Kiarostami Quotes
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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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Anything I’ve not experienced I do not look to for a subject. I have to feel it.
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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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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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I didn’t just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
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I think that in life, being is nothing but an illusion. If we acknowledge that and accept the fact that we are in between states, that we are moving, and this movement is the nature of our lives
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The day we run out of petrol is the day Iran will be free.
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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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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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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’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.
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I prefer the films that put their audience to sleep in the theater. Some films have made me doze off in the theater, but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for weeks.
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It’s not so much a question of whether we’ve shot it through 35mm or digital video; what is important is whether the audience accepts it as real.
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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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In the total darkness, poetry is still there, and it is there for you.
ABBAS KIAROSTAMI