Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.— Abbas Kiarostami
The most useful Abbas Kiarostami quotes you will be delighted to read
My way of expression is full of complications and mystery because that's my perception of life.
I spend a lot of time doing carpentry.
Sometimes there is nothing that gives me the contentment that sawing a piece of wood does.
I think that in life, being is nothing but an illusion.
If we acknowledge that and accept the fact that we are in between states, that we are moving, and this movement is the nature of our lives, and we stop having aspirations for being in a definite state, we know life better and are able to enjoy it better.
It seems that film-makers are being divided between those working in digital and those who are not. I think it's not something predetermined - it all depends on what project we have in mind, and on that basis we choose the medium.
It's true that the best way of knowing yourself is to put yourself into different situations.
In my mind, there isn't as much of a distinction between documentary and fiction as there is between a good movie and a bad one.
The day we run out of petrol is the day Iran will be free.
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.
I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all.
I do believe in [Robert] Bresson's method of creation through omission, not through addition.
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.
I didn't just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it's still nothing but a copy.
I wasn't searching for a common denominator - I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.
I believe there's only good cinema and bad cinema.
In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
There were years when Hitchcock was like a master to me, but now I think he's so artificial. I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.
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.
I think that if you're a digital thinker, you can use a digital camera.
Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.
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.
Film is very much a universal and common voice, and we can't limit it to one particular culture.
This kind of directing, I think, is very similar to being a football coach.
You prepare your players and place them in the right places, but once the game is on, there's nothing much you can do - you can smoke a cigarette or get nervous, but you can't do much.
I never reflect or convey that which I have not experienced myself.
Directors don't always create, they can also destroy with too many demands.
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.
A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.
While shooting Ten I was sitting in the backseat, but I didn't interfere.
Sometimes, I was following in another car, so I was not even present on the "set", because I thought they would work better in my absence.
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.
We don't look at each other [in the car], but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult.
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.
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.
Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
I think I really produce my best work in Iran.
The one-word cinema wasn't possible for me anymore.
I'd hit a wall, a dead end. Therefore I thought I'd turn back.
It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].
In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.
Maybe more than a teller, I am a story listener.
I really enjoy listening to stories. I remember them and keep them in my mind. All of my films are a collection of small stories that have been told to me.
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.
The starting point and the ending point are nothing but two arbitrary choices.
You make them as in soccer games, where they chose that it's 90 minutes, not less and not more. But the choices are the responsibility of the filmmaker. You have to choose to join the story at an arbitrary point, and you leave it at an arbitrary point.
All the different nations in the world, despite their differences of appearance and religion and language and way of life, still have one thing in common, and that is what's inside of all of us. If we X-rayed the insides of different human beings, we wouldn't be able to tell from those X-rays what the person's language or background or race is.
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.
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.
I never intended to write poems, nor to be a photographer, nor to be a film-maker. I just took many, many pictures and I would put them in an album, and then some years later I decided to show them and suddenly I was called a photographer. Same thing with my poetry. They're notes that I'd written in a book and it may be considered poetry.
I really haven't seen The Report in a long time.
I don't have a copy, but I'll have to see it again. I think it would be good to put both these men next to each other.