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

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I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
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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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Directors don't always create, they can also destroy with too many demands.
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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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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.
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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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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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The Iranian government as a whole has no relationship with my films. They're not particularly interested, perhaps this kind of cinema is not very interesting to them.
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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 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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It's not so much a question of whether we've shot it through 35mm or digital video what is important is whether the audience accepts it as real.
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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'm still very grateful to digital cameras in general, but I didn't have this feeling with the RED one.
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We are nothing but a link between our culture and what we can actually produce.
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It's true that the best way of knowing yourself is to put yourself into different situations.
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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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Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
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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 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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