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The fact that I do place music at the end of my films is not to accentuate the emotion. It serves an opposite purpose which is to remove them from the emotional space and allow them to enter a space of thinking, because I believe that when the audience is watching the film they're watching it with their feelings.

Asghar Farhadi

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Asghar Farhadi
Age: 52
Born: 1972
Born: May 7
Film Director
Film Producer
Screenwriter
Khomeynī Shahr
Believe
Purpose
Opposites
Thinking
Fact
Allow
Feelings
Watching
Facts
Films
Accentuate
Place
Emotional
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Emotion
Remove
Ends
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Opposite

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When I came to know theater, drama became valuable to me.
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One of the biggest blessings in my life is that I have a very wonderful family, a lovely wife and two lovely daughters.
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It's very difficult to talk about religion in Iran because religion has gotten so mixed up with politics.
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Whether we like it or not, the modernity is something that comes from Western countries, and when the modernity comes to the Eastern countries, although they feel like they really need it, at the same time it shakes the very fundament of the culture - there is always this challenge between the two.
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The fact is I'm not making a film in order to draw pictures or make images about Iran.
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Whenever I write a part, I think there's this person somewhere in the world that this part is specifically for and all I have to do is go searching to find that particular individual.
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Is there one specific source that determines correct morality and everybody should follow that? Or should individuals come up with following that source or not depending on their situation?
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I always thought that in the countries that the modernity kicks in later, it seems that everything changes on the surface, the physical things change, but inside, things haven't changed, really. This is always the challenge of this kind of community, to make a harmony between the cultural traditions and the modernity of modern life.
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I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.
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I like storytelling, and for storytelling you need a drama. And for there to be drama, you need twists, and by twists I mean the ability to constantly change the trajectory of the story.
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I feel its important to talk about the complex issues affecting us.
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It's a mistake and misconception to think that one has to state everything clearly and simply for the audience to be able to follow the character, and this is what is bringing American cinema down from its position in the classic golden period. There's this misapprehension that the audience is not smart.
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I would have had the same narrative, regardless of the atmosphere and the restrictions.
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Often times, music is used to evoke an emotion and it's become a cliche, so I don't want to do that, and actually what I do, is that emotional intensity that has developed throughout the film, I allow it to get released by having that music at the end with the credits.
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I feel it’s important to talk about the complex issues affecting us. And these are complex issues. I think it’s insulting to an audience to make them sit and watch a film and then give them a message in one sentence.
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Iranian filmmakers are not passive. They fight whenever they can, as creative expression means a lot to them. The restrictions and censorship in Iran are a bit like the British weather: one day it's sunny, the next day it's raining. You just have to hope you walk out into the sunshine.
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One must never tell a child what it is they should display acting.
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When we talk about self-confrontations, we are speaking about moral issues rather than social issues.
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