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This 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.

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

Actress Challenges Acting Juliette Performance Professional Way
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.
ABBAS KIAROSTAMI

Actors End Belong Difficult Director Film Ultimately
We are nothing but a link between our culture and what we can actually produce.
ABBAS KIAROSTAMI

Actual Between Culture Link Nothing Produce
If it does, the fruit will not be as good as it was in its original place. This is a rule of nature. I think if I had left my country, I would be the same as the tree.
ABBAS KIAROSTAMI

Country Fruit Good Nature Original Rule
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.
ABBAS KIAROSTAMI

Exist Government Grapple Important Issue Issues
If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.
ABBAS KIAROSTAMI

Ask Businessman Iran Politician Quickly
The day we run out of petrol is the day Iran will be free.
ABBAS KIAROSTAMI

Day Free Iran Petrol Run Running
I didn’t just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
ABBAS KIAROSTAMI

Condemned Death Director Film People
In my experience as a director, I think there is obviously something of the way men – maybe that’s a common point with Shirin – the way men see women in the film, and the way these two characters see each other.
ABBAS KIAROSTAMI

Character Director Experience Men Shirin Thinking
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
As long as I take the responsibility of the choice, I have to make the choice that is as right as possible.
ABBAS KIAROSTAMI

Choice Long Possible Responsibility Right
In my mind, there isn’t as much of a distinction between documentary and fiction as there is between a good movie and a bad one.
ABBAS KIAROSTAMI

Bad Distinction Documentary Fiction Good Good Movie Mind Movie
A work of art doesn’t exist outside the perception of the audience.
ABBAS KIAROSTAMI

Art Audience Exist Outside Perception Work
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

Element Eliminated Film Kind Minimalism Progress Progressive
As soon as people enter a theater they must become moron consumers who must be fed information.
ABBAS KIAROSTAMI

Consumer Fed Information Moron People Theater
All the different nations in the world, despite their differences of appearance and religion and language and way of life, still have one thing in common, and that is what’s inside of all of us.
ABBAS KIAROSTAMI

Deny Despite Differences Nation Race Ray Retrospectively Temporary World

This 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.

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This 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.

Related Topics

Popular Authors

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