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Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them.
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A movie is about human beings, about humanity.
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As film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.
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There are at least two retrospectives of my work each year in some country.
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The world is my workshop. It is not my home.
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Good cinema is what we can believe, and bad cinema is what we can't believe.
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My way of expression is full of complications and mystery because that's my perception of life.
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I am a citizen of the world.
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I have no advice for anyone on how to live.
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I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
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A good movie is made by an initial burst of energy, the way that, when you are in school, your class exercises are always better than your final projects.
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I think violence can never be justified.
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Whenever people ask me what the story is for my next film, I won't tell and people feel it's because I'm being secretive or something, but it's actually because I'm ashamed to sum up a film in three sentences.
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Poetry always runs away from you - it's very difficult to grasp it, and every time you read it, depending on your conditions, you will have a different grasp of it. Whereas with a novel, once you have read it, you have grasped it.
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I've often noticed that we are not able to look at what we have in front of us, unless it's inside a frame.
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Everybody knows that I am not usually patient enough to actually sit down and watch one of my own films from the beginning to the end - I never do.
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The calling of art is to extract us from our daily reality, to bring us to a hidden truth that's difficult to access - to a level that's not material but spiritual.
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I think I really produce my best work in Iran.
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If you catch me coming out of a film, when I'm emotionally involved, I can tell you at that moment why I like it – but to talk about it years later is not logical to me.
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To me, AIDS is an international epidemic and every country can be affected by it. Therefore, it can be discussed on an international level. Unfortunately, AIDS doesn't require a visa.
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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 don't know whether it is fortunate or unfortunate, but I have no such thing as national pride. I don't feel proud that I am Iranian. I happen to be who I am.
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I feel like a tree. A tree doesn't feel a duty to start doing something about the earth from which it comes. A tree just has to bear fruit, and leaves and blossoms. It doesn't feel grateful to the earth.
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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. This is something I really mean.