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Close-Up is a very particular film in my oeuvre. It’s a film that was made in a very particular way; mainly because I didn’t really have the time to think about how to go about making the film.

Abbas Kiarostami

Silence doesn’t seem heavy or difficult.
ABBAS KIAROSTAMI

Difficult heavy Option Silence
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.
ABBAS KIAROSTAMI

Asking Behave Director Guilty More Perhaps Thinking
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 KIAROSTAMI

Character Director Experience Men Shirin Thinking
I think Woody Allen is Woody Allen, and no matter where he goes he still makes his Woody Allen films.
ABBAS KIAROSTAMI

Allen Film Make Matter Thinking Woody
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

Actors End Belong Difficult Director Film Ultimately
I think that if you’re a digital thinker, you can use a digital camera.
ABBAS KIAROSTAMI

Camera Digital Thinker Thinking Use
We are nothing but a link between our culture and what we can actually produce.
ABBAS KIAROSTAMI

Actual Between Culture Link Nothing Produce
If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.
ABBAS KIAROSTAMI

Ask Businessman Iran Politician Quickly
In order to be universal, you have to be rooted in your own culture.
ABBAS KIAROSTAMI

Culture Order Own Rooted Universal
Anything I’ve not experienced I do not look to for a subject. I have to feel it.
ABBAS KIAROSTAMI

Experienced Feel Look Looks Subject
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
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.
ABBAS KIAROSTAMI

Appearing Around Car Look Rude Silence View
I can only display what I’ve been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn’t deserve this heritage.
ABBAS KIAROSTAMI

Anything Different Display Displayed Heritage Nurtured View Worldview
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.
ABBAS KIAROSTAMI

Cinema Dead End Possible Turn Wall Word
Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
ABBAS KIAROSTAMI

America Cinema Critics Few Iran More People Unfortunately
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

Close-Up is a very particular film in my oeuvre. It’s a film that was made in a very particular way; mainly because I didn’t really have the time to think about how to go about making the film.

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Close-Up is a very particular film in my oeuvre. It’s a film that was made in a very particular way; mainly because I didn’t really have the time to think about how to go about making the film.

Related Topics

Popular Authors

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