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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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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
Advantage
Especially
Full
Dramas
Problem
Medium
Better
Mediums
Take
Digital
Going
Shooting
Drama

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Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
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I never reflect or convey that which I have not experienced myself.
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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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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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The [Iranian] government grapples with more important issues and we can maybe say that these films don't really exist for them. It's not about whether they like it or don't it's just not very important to them.
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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 think I'm no different to my friends who are doctors or businessmen or architects - we all started watching films of the golden age together. But whether I'm making films or writing poetry or doing photography, it's very much rooted in my sense of unease. And that's really where everything goes back to.
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I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic so I have my doubts.
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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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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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The starting point and the ending point are nothing but two arbitrary choices. You make them as in soccer games, where they chose that it's 90 minutes, not less and not more. But the choices are the responsibility of the filmmaker. You have to choose to join the story at an arbitrary point, and you leave it at an arbitrary point.
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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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The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
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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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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 don't like reverse-angle shots - I find them very fake and very untruthful to the viewer.
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I have no advice for anyone on how to live.
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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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When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.
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In order to be universal, you have to be rooted in your own culture.
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