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.
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.
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.
I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it’s still nothing but a copy.
Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it’s sometimes very difficult to direct or order them to do something.
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
Maybe more than a teller, I am a story listener. I really enjoy listening to stories. I remember them and keep them in my mind. All of my films are a collection of small stories that have been told to me.
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.
I remember when I came out of an exam thinking I had done well and then I had a clue that maybe one answer was wrong, I remembered that I rather stop knowing, stop thinking about it, appreciating life instead.
I wasn’t searching for a common denominator – I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.
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