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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

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

Believe Cinema Good Interested
In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
ABBAS KIAROSTAMI

Fashion Hold Hope Look Men Opinion Relationship
In real life, when someone’s partner calls them, they can tell from the first word their partner says what their mood is.
ABBAS KIAROSTAMI

First Life Mood Partner Real Word
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
I really haven’t seen The Report in a long time. I don’t have a copy, but I’ll have to see it again. I think it would be good to put both these men next to each other.
ABBAS KIAROSTAMI

Copy Long Men Report Thinking Time
I really enjoy listening to stories. I remember them and keep them in my mind.
ABBAS KIAROSTAMI

Enjoy Listening Mind Remember Story
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

Evening Hair Night Sleep Wink
If I do continue to have the opportunity to work in Iran, that’s very much what I’d prefer to do.
ABBAS KIAROSTAMI

Continue Iran Opportunity Prefer
Directors don’t always create, they can also destroy with too many demands.
ABBAS KIAROSTAMI

Always Create Demand Destroy Director
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.
ABBAS KIAROSTAMI

City Village Film Prefer Society Town True
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.
ABBAS KIAROSTAMI

Asking Behave Director Guilty More Perhaps Thinking
I think life is so difficult to catch, it’s so furtive, that a copy, a film, can in no way catch it and represent it.
ABBAS KIAROSTAMI

Difficult Furtive Life Represent Thinking Way
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
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
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
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 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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