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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
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Teheran
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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 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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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.
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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 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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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 saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
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Close-Up has affected later films that I've made.
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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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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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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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I don't like reverse-angle shots - I find them very fake and very untruthful to the viewer.
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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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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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In my experience as a director, I think there is obviously something of the way men - maybe that's a common point with Shirin - the way men see women in the film, and the way these two characters see each other.
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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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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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