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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

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

Addition Believe Creation Omission Robert
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
In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
ABBAS KIAROSTAMI

Fashion Hold Hope Look Men Opinion Relationship
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
I have a picture from the end of the shoot, and in it I have lost all my hair.
ABBAS KIAROSTAMI

All End Hair Lost Picture Shoot
I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
ABBAS KIAROSTAMI

Better Football Footballer Home Rule Thinking
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
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
Silence doesn’t seem heavy or difficult.
ABBAS KIAROSTAMI

Difficult heavy Option Silence
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
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
As long as I take the responsibility of the choice, I have to make the choice that is as right as possible.
ABBAS KIAROSTAMI

Choice Long Possible Responsibility Right
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
Directors don’t always create, they can also destroy with too many demands.
ABBAS KIAROSTAMI

Always Create Demand Destroy Director
I didn’t just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
ABBAS KIAROSTAMI

Condemned Death Director Film People
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 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.

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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.

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