You’ve noticed that same joke told by two different people, once works, and the other time doesn’t, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize – all of this matters.
ABBAS KIAROSTAMIIn 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.
More Abbas Kiarostami Quotes
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A work of art doesn’t exist outside the perception of the audience.
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Using non-actors has its own rules and really requires that you allow them to do their own thing.
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It’s true that the best way of knowing yourself is to put yourself into different situations.
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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.
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If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.
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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.
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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 thought that I had been asked every kind of question possible.
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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 -
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 -
It seems that film-makers are being divided between those working in digital and those who are not. I think it’s not something predetermined – it all depends on what project we have in mind, and on that basis we choose the medium.
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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.
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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.
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I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don’t use my camera anymore as a camera. I don’t feel it as a camera.
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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.
ABBAS KIAROSTAMI