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Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is.

Abbas Kiarostami

My car is 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.
ABBAS KIAROSTAMI

Car Film Friend Home Intimate Location Office
Silence doesn’t seem heavy or difficult.
ABBAS KIAROSTAMI

Difficult heavy Option Silence
Maybe more than a teller, I am a story listener. I really enjoy listening to stories. I remember them and keep them in my mind. All of my films are a collection of small stories that have been told to me.
ABBAS KIAROSTAMI

Enjoy Listener Listening Mind More Remember Story Teller
A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.
ABBAS KIAROSTAMI

Advantage Camera Digital Doe Film Influence Making Video
I do believe in [Robert] Bresson’s method of creation through omission, not through addition.
ABBAS KIAROSTAMI

Addition Believe Creation Omission Robert
Having an international voice is not really about whether we speak Persian or any other language.
ABBAS KIAROSTAMI

International Language Persian Speak Voice
We are nothing but a link between our culture and what we can actually produce.
ABBAS KIAROSTAMI

Actual Between Culture Link Nothing Produce
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
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
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 KIAROSTAMI

Character Know Not People Real Well
The digital camera has given me total freedom and a different way of filming.
ABBAS KIAROSTAMI

Camera Different Digital Filming Freedom Way
The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn’t directing the actors so much as being directed by them. So it was a very particular film.
ABBAS KIAROSTAMI

Actor Character Directing Film Large Real Very
I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.
ABBAS KIAROSTAMI

Camera Digital Feelings General Grateful Red
I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic; so I have my doubts.
ABBAS KIAROSTAMI

Action Camera Digital Doubt Light Produces Proud Video Year
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

Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is.

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Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is.

Related Topics

Popular Authors

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