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Using non-actors has its own rules and really requires that you allow them to do their own thing.

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
Really
Requires
Using
Allow
Rules
Actors
Thing

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I don't generally derive my stories from novels. I try to turn into film things I have felt or experienced.
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Directors don't always create, they can also destroy with too many demands.
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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 are certainties in existence, but love is something much harder to define than light and dark, life and death. I think saying you are like someone in love sounds right.
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This concept that you refer to in Buddhism is something I've been nurtured with through the history of my country for 700, 800 years - Persian poets and philosophers haven't said anything different with regard to experiencing life in the moment, as opposed to the belief of permanence.
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In order to be universal, you have to be rooted in your own culture.
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Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.
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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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In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
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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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I really enjoy listening to stories. I remember them and keep them in my mind.
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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.
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Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it's sometimes very difficult to direct or order them to do something.
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Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way mainly because I didn't really have the time to think about how to go about making the film.
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I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.
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The only thing that I can do is hold a mirror in front of men and women, in front of the viewer in the theater, to reflect. There is nothing but reflection that I could intend to offer the viewer of the film.
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Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
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In my experience as a director, I think there is obviously something of the way men - maybe that's a common point with Shirin - the way men see women in the film, and the way these two characters see each other.
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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 don't like reverse-angle shots - I find them very fake and very untruthful to the viewer.
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