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I don't generally derive my stories from novels. I try to turn into film things I have felt or experienced.

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
Turn
Turns
Felt
Film
Derive
Stories
Novels
Trying
Experienced
Things
Generally
Novel

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Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
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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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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 can only display what I've been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn't deserve this heritage.
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Having an international voice is not really about whether we speak Persian or any other language.
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Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.
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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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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 never really learned photography.
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It's true that the best way of knowing yourself is to put yourself into different situations.
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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 think that if you're a digital thinker, you can use a digital camera.
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The one-word cinema wasn't possible for me anymore. I'd hit a wall, a dead end. Therefore I thought I'd turn back.
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If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.
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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.
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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.
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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.
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Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.
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The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
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The day we run out of petrol is the day Iran will be free.
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