“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.”

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

I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it’s still nothing but a copy.

When you take a tree that is rooted in the ground, and transfer it from one place to another, the tree will no longer bear fruit.

I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.

If I do continue to have the opportunity to work in Iran, that’s very much what I’d prefer to do.

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.

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

I prefer to have longevity. I like as great a variety as possible, hopefully to avoid getting stuck in one kind of character, having to do it over and over again.

I follow a dairy-free and gluten-free diet, which can be challenging in some places.

Most important, however, is the third avenue to meaning in life: even the helpless victim of a hopeless situation, facing a fate he cannot change, may rise above himself, may grow beyond himself, and by so doing change himself. He may turn a personal tragedy into a triumph.

I don’t have all the answers. I need your help, your guidance, and your leadership to tackle the challenges before us.

It is in the ordinances of the temple that we are placed under covenant to Him….[If] we will enter into our covenants without reservation or apology, the Lord will protect us. We will receive inspiration sufficient for the challenges of life.

International terrorism is throwing down a challenge, and not just to Russia.

I genuinely try to make movies I’d want to go and see, movies that are a bit more challenging.

I didn’t get out of coaching to get back into it. This is my next challenge and I’m planning to work hard at it.