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I think I really produce my best work in Iran.

Abbas Kiarostami

It’s not so much a question of whether we’ve shot it through 35mm or digital video; what is important is whether the audience accepts it as real.
ABBAS KIAROSTAMI

Accept Audience Digital Important Question Real Shot Video
There were years when Hitchcock was like a master to me, but now I think he’s so artificial. I can watch films and say how technically beautiful they are, but I’m not impressed by any technicality.
ABBAS KIAROSTAMI

Artificial Beautiful Hitchcock Master Saw Technically Thinking Year
We don’t look at each other [in the car], but instead do so only when we want to. We’re allowed to look around without appearing rude. We have a big screen in front of us and side views.
ABBAS KIAROSTAMI

Appearing Around Car Look Rude Silence View
I’m not sure that my films show the reality of life in Iran; we show different aspects of life. Iran is a very extensive and expansive place, and sometimes, even for us who live there, some of the realities are very hard to comprehend.
ABBAS KIAROSTAMI

Aspect Different Expansive Extensive Iran Place Reality Show
In the total darkness, poetry is still there, and it is there for you.
ABBAS KIAROSTAMI

Darkness Desire Hope Poetry Still Total You
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
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
I do believe in [Robert] Bresson’s method of creation through omission, not through addition.
ABBAS KIAROSTAMI

Addition Believe Creation Omission Robert
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
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
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
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
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
A movie is about human beings, about humanity.
ABBAS KIAROSTAMI

Human Being Humanity Movie
I believe there’s only good cinema and bad cinema.
ABBAS KIAROSTAMI

Bad Believe Cinema Good Only
I think I really produce my best work in Iran.
ABBAS KIAROSTAMI

Best Iran Produce Really Thinking Work

I think I really produce my best work in Iran.

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I think I really produce my best work in Iran.

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