“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.”

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.

I’m not sure that my films show the reality of life in Iran; we show different aspects of life. Iran is a very extensive and expansive place, and sometimes, even for us who live there, some of the realities are very hard to comprehend.

I spend a lot of time doing carpentry. Sometimes there is nothing that gives me the contentment that sawing a piece of wood does.

People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people’s minds to lazy minds.

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.

Directors don’t always create, they can also destroy with too many demands.

I do believe in [Robert] Bresson’s method of creation through omission, not through addition.

Using non-actors has its own rules and really requires that you allow them to do their own thing.

As film-makers, it is very important for us to find common ground between cultures, and maybe that’s less the case for politicians who benefit more from finding the conflicts and differences between us.

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

A movie is about human beings, about humanity.

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.

My way of expression is full of complications and mystery because that’s my perception of life.

I think I really produce my best work in Iran.

The only thing that I can do is hold a mirror in front of men and women, in front of the viewer in the theater, to reflect. There is nothing but reflection that I could intend to offer the viewer of the film.

I really enjoy listening to stories. I remember them and keep them in my mind.

Close-Up has affected later films that I’ve made.