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A work of art doesn't exist outside the perception of the audience.
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
Work
Perception
Exist
Outside
Audience
Doesn
Art
More quotes by Abbas Kiarostami
I never really learned photography.
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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 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.
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I spend a lot of time doing carpentry. Sometimes there is nothing that gives me the contentment that sawing a piece of wood does.
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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. I didn't relate to it as much. I remember avoiding it during the shooting rather than paying attention to it.
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If I do continue to have the opportunity to work in Iran, that's very much what I'd prefer to do.
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I think life is so difficult to catch, it's so furtive, that a copy, a film, can in no way catch it and represent it.
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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.
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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.
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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.
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Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
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In the total darkness, poetry is still there, and it is there for you.
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I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
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I think I'm no different to my friends who are doctors or businessmen or architects - we all started watching films of the golden age together. But whether I'm making films or writing poetry or doing photography, it's very much rooted in my sense of unease. And that's really where everything goes back to.
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Using non-actors has its own rules and really requires that you allow them to do their own thing.
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In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
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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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As soon as people enter a theater they must become moron consumers who must be fed information.
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In my mind, there isn't as much of a distinction between documentary and fiction as there is between a good movie and a bad one.
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Having an international voice is not really about whether we speak Persian or any other language.
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