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The fact of having this very new context, this unheard-of way of working, for me was very pleasant. I didn't feel that I was working, that I had any kind of burden to wear, to carry. I really was very happy and very lighthearted during the whole process of making the film [Certified Copy], of shooting it.

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
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Teheran
Film
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Unheard
Whole
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Copy
Feel
Happy
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Burden
Lighthearted
Didn
Carry
Certified

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I think that if you're a digital thinker, you can use a digital camera.
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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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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 did not have a script [of Close Up]. I made notes in the evenings and we filmed during the day over 40 days.I didn't sleep a wink for those 40 nights. I have a picture from the end of the shoot, and in it I have lost all my hair.
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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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A work of art doesn't exist outside the perception of the audience.
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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.
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We are nothing but a link between our culture and what we can actually produce.
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Of the hundreds of points to enter and exit that are offered to me, I have to choose the one that I feel is the least wrong, the least fake. It is fake, it is a moment that I choose to erupt the story, but I make it as smooth as I can. What enables me to do it is the skill of filmmaking.
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Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it's sometimes very difficult to direct or order them to do something.
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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.
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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.
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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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My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
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Anything I've not experienced I do not look to for a subject. I have to feel it.
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Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
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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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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 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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I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.
Abbas Kiarostami