Quote

It is dangerous when you start calling people from one part of the world terrorists or fanatic, and you reduce them to some abstract notion. If evil has a geographical place, and if the evil has a name, that is the beginning of fascism. Real life is not this way. You have fanatics and narrow-minded people everywhere.

Marjane Satrapi

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Marjane Satrapi
Age: 55
Born: 1969
Born: November 22
Actor
Animator
Comics Artist
Film Director
Illustrator
Novelist
Painter
Screenwriter
Songwriter
Visual Artist
Writer
Evil
Everywhere
Fanatics
Place
Notion
Fascism
Part
Calling
Terrorists
Real
Beginning
Minded
Way
Dangerous
Reduce
Life
Name
Narrow
World
Names
Abstract
Geographical
People
Start
Terrorist
Fanatic

More quotes by Marjane Satrapi

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If you know a little bit the psychology of human beings, you have to understand that if you say something you should not do, then everybody wants to do it.
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Culture and education are the lethal weapons against all kinds of fundamentalism.
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I don't watch many comic-book movies. But I loved 'Sin City.'
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A cat can never be well-trained because they're too independent.
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The way that you remember your life, it's never linear. You have flashes of different moments of your life, and the flashes aren't equal they have different styles.
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With animation, if something does not fit, you always have the time to change it. When you make a live-action movie, when your days of shooting are over, they are over forever.
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I'm not a religious person at all.
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It's fear that makes us lose our conscience. It's also what transforms us into cowards.
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Today, we don't talk about history. The past is two weeks ago, and the future is two weeks after.
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Anything that has a relationship with pleasure we reject it. Eating, they talk about cholesterol making love, they talk about Aids you talk about smoking, they talk about cancer. It's a very sick society that rejects pleasure.
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You know, the cynicism that is in the politics, it is not for my soul. It makes me - out of me, an extremely bitter, cynical person that I hate to see in the mirror, really.
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There are things that I love in Iranian cinema and things that I don't. In Iranian cinema, you have to use metaphor because you are living under a dictatorship.
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But violence is news, to a certain extent, and people don't want complicated news. Because as soon as you realize things are complicated, your life becomes more complicated.
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Hunger eats civilization. The West is not hungry that's why they can say they're so civilized. Civilization is the biggest bluff!
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Maybe the biggest problem is that there's no empathy. Nobody puts themselves in the place of others. Everyone thinks they are the only one to suffer. Or that they're the only ones who like ice cream or take their kids on vacation.
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Human beings have a lot of problems identifying themselves with other human beings who don't resemble them exactly. But there's something about drawing that means that anyone can identify to a drawing. I mean, people can identify themselves with Donald Duck and Mickey Mouse.
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I don't think of myself as a rebel I just say what I think.
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Image is an international language.
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The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. Persepolis also has dreamlike moments, and the drawings help maintain cohesion and consistency.
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I chose the actors that I was in love with. I cannot work with people that I don't personally like a lot. They can be the best actor in the world, but if the first contact is not good, if I don't fall in love with them, then I don't want to work with them. It's impossible.
Marjane Satrapi