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I do believe in [Robert] Bresson’s method of creation through omission, not through addition.

Abbas Kiarostami

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.
ABBAS KIAROSTAMI

Finish Making More Movie People Process Talking Thinking
I do believe in [Robert] Bresson’s method of creation through omission, not through addition.
ABBAS KIAROSTAMI

Addition Believe Creation Omission Robert
I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.
ABBAS KIAROSTAMI

Ambition Bad Copy Film Life Nothing Shape Thinking
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
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.
ABBAS KIAROSTAMI

Frame Front Inside Notice Often
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 think I really produce my best work in Iran.
ABBAS KIAROSTAMI

Best Iran Produce Really Thinking Work
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
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
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
My car is my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We’re in the most comfortable seats because we’re not facing each other, but sitting side by side.
ABBAS KIAROSTAMI

Car Film Friend Home Intimate Location Office
I don’t like reverse-angle shots – I find them very fake and very untruthful to the viewer.
ABBAS KIAROSTAMI

Angle Fake Reverse Shot Untruthful
We are nothing but a link between our culture and what we can actually produce.
ABBAS KIAROSTAMI

Actual Between Culture Link Nothing Produce
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 have no advice for anyone on how to live.
ABBAS KIAROSTAMI

Advice Anyone Ask Live Option
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 do believe in [Robert] Bresson’s method of creation through omission, not through addition.

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I do believe in [Robert] Bresson’s method of creation through omission, not through addition.

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