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I do believe in [Robert] Bresson's method of creation through omission, not through addition.

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
Method
Creation
Believe
Bresson
Omission
Addition
Robert

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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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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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A work of art doesn't exist outside the perception of the audience.
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Having an international voice is not really about whether we speak Persian or any other language.
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I really haven't seen The Report in a long time. I don't have a copy, but I'll have to see it again. I think it would be good to put both these men next to each other.
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In my mind, there isn't as much of a distinction between documentary and fiction as there is between a good movie and a bad one.
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Using non-actors has its own rules and really requires that you allow them to do their own thing.
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In the total darkness, poetry is still there, and it is there for you.
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In order to be universal, you have to be rooted in your own culture.
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I have no advice for anyone on how to live.
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I really enjoy listening to stories. I remember them and keep them in my mind.
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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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Film is very much a universal and common voice, and we can't limit it to one particular culture.
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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 had intended to make another film, called Pocket Money, which was to be about children at a school. I was very much intrigued by the story [of Close Up] - it came into my dreams and I was very much influenced by it. So I called my producer and asked that we put aside Pocket Money and start something else, and he agreed.
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Close-Up has affected later films that I've made.
Abbas Kiarostami
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As soon as people enter a theater they must become moron consumers who must be fed information.
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Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.
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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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I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
Abbas Kiarostami