Everybody knows that I am not usually patient enough to actually sit down and watch one of my own films from the beginning to the end – I never do.
ABBAS KIAROSTAMIThis was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark.
More Abbas Kiarostami Quotes
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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.
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While shooting Ten I was sitting in the backseat, but I didn’t interfere. Sometimes, I was following in another car, so I was not even present on the “set”, because I thought they would work better in my absence.
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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.
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I think that if you’re a digital thinker, you can use a digital camera.
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It’s very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.
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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.
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Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
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I only make notes, I don’t write dialogues in full. And the notes are very much based on my knowledge of person.
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The [Iranian] government grapples with more important issues and we can maybe say that these films don’t really exist for them. It’s not about whether they like it or don’t; it’s just not very important to them.
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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.
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My way of expression is full of complications and mystery because that’s my perception of life.
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I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
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There are certainties in existence, but love is something much harder to define than light and dark, life and death. I think saying you are “like” someone in love sounds right.
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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.
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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.
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