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Having an international voice is not really about whether we speak Persian or any other language.

Abbas Kiarostami

I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.
ABBAS KIAROSTAMI

Camera Digital Feelings General Grateful Red
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 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
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
It’s not so much a question of whether we’ve shot it through 35mm or digital video; what is important is whether the audience accepts it as real.
ABBAS KIAROSTAMI

Accept Audience Digital Important Question Real Shot Video
In the total darkness, poetry is still there, and it is there for you.
ABBAS KIAROSTAMI

Darkness Desire Hope Poetry Still Total You
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
My car’s 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

Best Car Friend Home Intimate Location Sense View
I think I really produce my best work in Iran.
ABBAS KIAROSTAMI

Best Iran Produce Really Thinking Work
Directors don’t always create, they can also destroy with too many demands.
ABBAS KIAROSTAMI

Always Create Demand Destroy Director
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
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
There are certainties in existence, but love is something much harder to define than light and dark, life and death. I think saying you are “like” someone in love sounds right.
ABBAS KIAROSTAMI

Certainties Dark Death Define Existence Harder Life Thinking
I thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress.
ABBAS KIAROSTAMI

Actress Challenges Acting Juliette Performance Professional Way
Film is very much a universal and common voice, and we can’t limit it to one particular culture.
ABBAS KIAROSTAMI

Common Culture Film Limit Universal Voice
The only thing that I can do is hold a mirror in front of men and women, in front of the viewer in the theater, to reflect. There is nothing but reflection that I could intend to offer the viewer of the film.
ABBAS KIAROSTAMI

Front Hold Men Mirror Nothing Reflection Viewer

Having an international voice is not really about whether we speak Persian or any other language.

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Having an international voice is not really about whether we speak Persian or any other language.

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Popular Authors

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