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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

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.
ABBAS KIAROSTAMI

Camera Digital Intimate Moments Light
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
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 KIAROSTAMI

Actor Character Directing Film Large Real Very
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
A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.
ABBAS KIAROSTAMI

Advantage Camera Digital Doe Film Influence Making Video
I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
ABBAS KIAROSTAMI

Believe End Film Kids Camera Like Made Ten
I do believe in [Robert] Bresson’s method of creation through omission, not through addition.
ABBAS KIAROSTAMI

Addition Believe Creation Omission Robert
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
I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it’s still nothing but a copy.
ABBAS KIAROSTAMI

Camera Closer Digital Fashion Film Giving Making Nothing
Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
ABBAS KIAROSTAMI

America Cinema Critics Few Iran More People Unfortunately
I thought that I had been asked every kind of question possible.
ABBAS KIAROSTAMI

Asked Kind Possible Question
I think being someone in love is so hard to define, so temporary, because retrospectively we often deny the state in which we were in love.
ABBAS KIAROSTAMI

Complication Deny Expression Life Perception Thinking
I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
ABBAS KIAROSTAMI

Anxiety English Familiar Man Men Responsibility
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
Anything I’ve not experienced I do not look to for a subject. I have to feel it.
ABBAS KIAROSTAMI

Experienced Feel Look Looks Subject
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

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.

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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.

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Popular Authors

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