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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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I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all.
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I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
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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 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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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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I often say to my students in workshops that if they are trying to find literary inspiration, they should not go and read novels, because novels are more appropriate for series. Where as they should read short stories - that's the right format for you to be able to actually display the narrative in a film.
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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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I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
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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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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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Close-Up has affected later films that I've made.
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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 film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.
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Everybody knows that I am not usually patient enough to actually sit down and watch one of my own films from the beginning to the end - I never do.
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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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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 I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.
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If we're not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas - I have no problem with 35mm.
Abbas Kiarostami
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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.
Abbas Kiarostami
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I do believe in [Robert] Bresson's method of creation through omission, not through addition.
Abbas Kiarostami