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The digital camera has given me total freedom and a different way of filming.

Abbas Kiarostami

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.
ABBAS KIAROSTAMI

Cinema Dead End Possible Turn Wall Word
I don’t generally derive my stories from novels. I try to turn into film things I have felt or experienced.
ABBAS KIAROSTAMI

Derive Experienced Film Novel Story Trying
I think that if you’re a digital thinker, you can use a digital camera.
ABBAS KIAROSTAMI

Camera Digital Thinker Thinking Use
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.
ABBAS KIAROSTAMI

Cinema Film Government Interesting Iranian Perhaps Relationship
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.
ABBAS KIAROSTAMI

Assistant Attention Camera DP Film heavy Impression Red Shooting
I would be too selfish if I said everyone should see my movies more than once. To say that would mean I’m just marketing my work!
ABBAS KIAROSTAMI

Marketing Mean Movie Selfish Work
I believe there’s only good cinema and bad cinema.
ABBAS KIAROSTAMI

Bad Believe Cinema Good Only
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
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
I only make notes, I don’t write dialogues in full. And the notes are very much based on my knowledge of person.
ABBAS KIAROSTAMI

Based Dialogue Knowledge Note Person Writing
I prefer the films that put their audience to sleep in the theater. Some films have made me doze off in the theater, but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for weeks.
ABBAS KIAROSTAMI

Audience Film Morning Night Sleep Theatre
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
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.
ABBAS KIAROSTAMI

Backseat Car Interfere Present Shooting Sitting Ten
Close-Up is a very particular film in my oeuvre. It’s a film that was made in a very particular way; mainly because I didn’t really have the time to think about how to go about making the film.
ABBAS KIAROSTAMI

Close up Director Film Oeuvre Thinking Time Way
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.
ABBAS KIAROSTAMI

Film Grateful Information People Possible Real

The digital camera has given me total freedom and a different way of filming.

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The digital camera has given me total freedom and a different way of filming.

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