Asghar Farhadi Quotes
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I try very hard to write in a very orderly and continual disciplined manner.
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I pay lots of homages. I wanted to pay tribute to a leading Iranian writer, Gholam - Hossein Sa'edi, who is buried in Paris - he is an Iranian Arthur Miller. He is of a similar stature, and his work is similar to that of Arthur Miller.
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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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The goal in some types of yoga is to try and reconcile all the characters within a person, and, in fact, the word 'yoga' comes from the word 'union.'
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Before I worked on film, I studied the theatre, and I expected that I would spend my whole career in theatre. Gradually, I started writing for the cinema. However, I feel grateful towards the theatre. I love working with spectators, and I love this experience with the theatre, and I like theatre culture.
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I think every human being in the world appreciates being encouraged and acknowledged.
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I can't make pronouncements about the entirety of Iranian cinema, because there's such a great number of filmmakers and because of the diversity of points of view and filmmaking attitudes.
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I lived in Paris for two years with my family. I would roam the streets of Paris during the day for a few hours in the subway, on the streets, and I listened to the French language, and I got a sense of the rhythm and the melody of the language.
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I feel it's important to talk about the complex issues affecting us.
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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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Art removes boundaries and makes the world brighter. It is the common language for people all over the world. But politics are the opposite completely. Politicians, their very meaning is based on the lines they draw.
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If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
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When we talk about self-confrontations, we are speaking about moral issues rather than social issues.
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I prefer to stay in my country. But this doesn't mean if someone does want to leave Iran, I think they've done something wrong - the desire to leave is completely understandable.
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I feel that it means a lot to the people of Iran that my film is represented at the Oscars, and it makes me happy to bring them that joy, that I'm representing them and that I'm able to give them that element of pleasure to be the envoy from Iran. It's a very pleasant thing.
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When I came to know theater, drama became valuable to me.
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Even the things we are certain about are only an illusion. We are born with a female side and a male side, and these two sides are always fighting and challenging each other. This is why anything we want to do, we have the other side of telling us not to do it, to be careful about it.
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The success of one film may convince the filmmaker to try repeat his successes and get into a competition with himself. One cannot dwell on periodic successes. You have to look at it as a temporary, passing thing.
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I have two 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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There are many actors I really like and whose work I admire.
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I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.
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It's not some big event that creates the drama, it's the little things of everyday life that bring about that drama.
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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.