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.
ABBAS KIAROSTAMII 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.
More Abbas Kiarostami Quotes
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Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
ABBAS KIAROSTAMI -
I never reflect or convey that which I have not experienced myself.
ABBAS KIAROSTAMI -
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.
ABBAS KIAROSTAMI -
I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
ABBAS KIAROSTAMI -
My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
ABBAS KIAROSTAMI -
Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
ABBAS KIAROSTAMI -
I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
ABBAS KIAROSTAMI -
I did not have a script [of Close Up]. I made notes in the evenings and we filmed during the day over 40 days.I didn’t sleep a wink for those 40 nights.
ABBAS KIAROSTAMI -
I believe there’s only good cinema and bad cinema.
ABBAS KIAROSTAMI -
You’ve noticed that same joke told by two different people, once works, and the other time doesn’t, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize – all of this matters.
ABBAS KIAROSTAMI -
Good cinema is what we can believe and bad cinema is what we can’t believe. What you see and believe in is very much what I’m interested in.
ABBAS KIAROSTAMI -
I think I really produce my best work in Iran.
ABBAS KIAROSTAMI -
I do believe in [Robert] Bresson’s method of creation through omission, not through addition.
ABBAS KIAROSTAMI -
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.
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.
ABBAS KIAROSTAMI