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The day we run out of petrol is the day Iran will be free.

Abbas Kiarostami

I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I’m not the only one.
ABBAS KIAROSTAMI

Asking Behave Director Guilty More Perhaps Thinking
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 really haven’t seen The Report in a long time. I don’t have a copy, but I’ll have to see it again. I think it would be good to put both these men next to each other.
ABBAS KIAROSTAMI

Copy Long Men Report Thinking Time
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
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
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 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
This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark.
ABBAS KIAROSTAMI

Dark Element Light Painting Pointed Referred Use
I think that if you’re a digital thinker, you can use a digital camera.
ABBAS KIAROSTAMI

Camera Digital Thinker Thinking Use
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
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
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
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.
ABBAS KIAROSTAMI

Audience Film Morning Night Sleep Theatre
I don’t generally derive my stories from novels. I try to turn into film things I have felt or experienced.
ABBAS KIAROSTAMI

Derive Experienced Film Novel Story Trying
I don’t have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who’s in my mind in reality.
ABBAS KIAROSTAMI

Character Film General Mind Outline Reality Script
While shooting Ten I was sitting in the backseat, but I didn’t interfere. Sometimes, I was following in another car, so I was not even present on the “set”, because I thought they would work better in my absence.
ABBAS KIAROSTAMI

Backseat Car Interfere Present Shooting Sitting Ten

The day we run out of petrol is the day Iran will be free.

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The day we run out of petrol is the day Iran will be free.

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