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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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As film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.
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In order to be universal, you have to be rooted in your own culture.
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A work of art doesn't exist outside the perception of the audience.
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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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I never reflect or convey that which I have not experienced myself.
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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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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 did not have a script [of Close Up]. I made notes in the evenings and we filmed during the day over 40 days.I didn't sleep a wink for those 40 nights. I have a picture from the end of the shoot, and in it I have lost all my hair.
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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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As soon as people enter a theater they must become moron consumers who must be fed information.
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Directors don't always create, they can also destroy with too many demands.
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In my films, I try to give people as little information as possible, which is still much more than what they get in real life. I feel that they should be grateful for the little bit of information I give them.
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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 thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress.
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This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do - we bring out elements that we want to emphasise.
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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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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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The digital camera has given me total freedom and a different way of filming.
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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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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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