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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

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Abbas Kiarostami
Age: 75 †
Born: 1940
Born: January 1
Died: 2016
Died: January 1
Actor
Cinematographer
Contributing Editor
Film Director
Film Editor
Film Producer
Graphic Designer
Illustrator
Painter
Photographer
Teheran
Look
Frame
Looks
Noticed
Fronts
Front
Unless
Inside
Often
Able

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As long as I take the responsibility of the choice, I have to make the choice that is as right as 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.
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If we're not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas - I have no problem with 35mm.
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I believe there's only good cinema and bad cinema.
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I never intended to write poems, nor to be a photographer, nor to be a film-maker. I just took many, many pictures and I would put them in an album, and then some years later I decided to show them and suddenly I was called a photographer. Same thing with my poetry. They're notes that I'd written in a book and it may be considered poetry.
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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. And it's something that we do - we bring out elements that we want to emphasise.
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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.
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My way of expression is full of complications and mystery because that's my perception of life.
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I never reflect or convey that which I have not experienced myself.
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I would be too selfish if I said everyone should see my movies more than once. To say that would mean I'm just marketing my work!
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It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].
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I'm still very grateful to digital cameras in general, but I didn't have this feeling with the RED one.
Abbas Kiarostami
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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
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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.
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I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.
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Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
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When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life.
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I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of person.
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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.
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I really enjoy listening to stories. I remember them and keep them in my mind.
Abbas Kiarostami