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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.

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
Progress
Though
Progressing
Film
Minimalism
Certain
Eliminated
Even
Intended
Kind
Towards
Never
Elements
Films

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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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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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Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
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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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My way of expression is full of complications and mystery because that's my perception of life.
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I'm still very grateful to digital cameras in general, but I didn't have this feeling with the RED one.
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Religion works on some people but not on everyone, because it says, 'Stop thinking and accept what I tell you.' That's not valid for people who want to think and reflect.
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A movie is about human beings, about humanity.
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I think that if you're a digital thinker, you can use a digital camera.
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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 think I really produce my best work in Iran.
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I have no advice for anyone on how to live.
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It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].
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I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
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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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I prefer the films that put their audience to sleep in the theater. Some films have made me doze off in the theater, but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for weeks.
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It is a very important film, Life And Nothing More, in that what was filmed was inspired by a journey I had made just three days after an earthquake. And I speak not only of the film itself but also of the experience of being in that place, where only three days before 50,000 people had died.
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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 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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It's very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.
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