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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.

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
Wasn
Turn
Possible
Word
Cinema
Turns
Anymore
Ends
Therefore
Thought
Wall
Back
Dead

More quotes by Abbas Kiarostami

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I didn't just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
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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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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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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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Directors don't always create, they can also destroy with too many demands.
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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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I thought that I had been asked every kind of question possible.
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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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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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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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As soon as people enter a theater they must become moron consumers who must be fed information.
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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.
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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.
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I think violence can never be justified. At the same time, nobody’s culture or beliefs should be insulted, that’s not something I can accept either. But I cannot justify or accept any violence at all.
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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.
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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, 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.
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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.
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We don't look at each other [in the car], but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult.
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When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.
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