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I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.
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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Film Director
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Teheran
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Directors
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I thought that I had been asked every kind of question possible.
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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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People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people's minds to lazy minds.
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I have no advice for anyone on how to live.
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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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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.
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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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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 can only display what I've been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn't deserve this heritage.
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A work of art doesn't exist outside the perception of the audience.
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Directors don't always create, they can also destroy with too many demands.
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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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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.
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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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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.
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All the different nations in the world, despite their differences of appearance and religion and language and way of life, still have one thing in common, and that is what's inside of all of us. If we X-rayed the insides of different human beings, we wouldn't be able to tell from those X-rays what the person's language or background or race is.
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I do believe in [Robert] Bresson's method of creation through omission, not through addition.
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This kind of directing, I think, is very similar to being a football coach. You prepare your players and place them in the right places, but once the game is on, there's nothing much you can do - you can smoke a cigarette or get nervous, but you can't do much.
Abbas Kiarostami
