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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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Usually when I write a script, I have in mind some real people that I'm writing about, who don't always act in the film afterward.
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The world is my workshop. It is not my home.
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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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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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I think violence can never be justified.
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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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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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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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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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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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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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I think I really produce my best work in Iran.
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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 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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Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.
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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.