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I think being someone in love is so hard to define, so temporary, because retrospectively we often deny the state in which we were in love.

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
Thinking
Deny
State
Often
Someone
States
Hard
Retrospectively
Love
Temporary
Think
Define

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I never really learned photography.
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I thought that I had been asked every kind of question possible.
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When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life.
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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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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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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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In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.
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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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I have no advice for anyone on how to live.
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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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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.
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In order to be universal, you have to be rooted in your own culture.
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I think life is so difficult to catch, it's so furtive, that a copy, a film, can in no way catch it and represent it.
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I'm not sure that my films show the reality of life in Iran we show different aspects of life. Iran is a very extensive and expansive place, and sometimes, even for us who live there, some of the realities are very hard to comprehend.
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My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
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The day we run out of petrol is the day Iran will be free.
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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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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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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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In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.
Abbas Kiarostami