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 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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I thought that I had been asked every kind of question possible.
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I’ve often noticed that we are not able to look at what we have in front of us, unless it’s inside a frame.
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I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
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The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
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I can only display what I’ve been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn’t deserve this heritage.
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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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I think Woody Allen is Woody Allen, and no matter where he goes he still makes his Woody Allen films.
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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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We are nothing but a link between our culture and what we can actually produce.
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With the RED, I didn’t have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera.
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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
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I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.
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When I’m in the process of making a movie I’m not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences.
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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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Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
ABBAS KIAROSTAMI