Asghar Farhadi Quotes
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Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.
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Is there one specific source that determines correct morality and everybody should follow that? Or should individuals come up with following that source or not depending on their situation?
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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.
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I gained a great deal from the period during which I worked in theater and I value those things a great deal.
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I like storytelling movies and more than that I like historical movies; and I think someday I'll definitely make a movie about the past 50 years history.
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There is no privilege in restriction. In other words, I disagree with people who say restriction makes you more creative. I think that's a misleading slogan. I might have been more creative without them than with them.
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When I decide to write a story, I don't think too much about what I want it to be, I just let things come naturally and this is how it turns out. It's just how my subconscious works.
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You must know that Iran has a great number of productions. Many films are released. Most of them, like in the rest of the world, are commercial and shallow films. These are the most popular ones. And there are a few ones that actually develop more profound and thoughtful aspects of life. Only some of these films travel out of Iran.
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After 'A Separation,' I found it much easier to work in Iran because I worked with very enthusiastic people who were very involved in the work, and that facilitated a number of things. It made it possible to iron out some of the difficulties found by other filmmakers in Iran.
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Each person makes their own choice, but my spirit is meant to stay in Iran, especially with the work that I do, and with the emotional connection I have with the country - with all its difficulties, this is why I stay.
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There are those who simply want to live their lives, and feel they cannot live the way they want to in Iran. Others are ideologically motivated: They will stay no matter what and try to change things.
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I would have had the same narrative, regardless of the atmosphere and the restrictions.
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Doing interviews about my films really bothers me sometimes, because I have to speak directly and clearly about things I've intended to keep ambiguous, and in a way, I feel like I'm betraying my film.
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The process of writing is like creating a game of dominoes: The first domino creates the second incident, and so forth until the end.
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We have the wrong impression of life. We think the very big incidents of our lives are consequences of huge dilemmas or major decisions. If we paid attention, we'd realize that the determining incidents in our lives are ordinary things.
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For the Americans, it is not attractive to hear what the similarities are between them and the Iranian people. It is attractive to hear how different the Iranians are.
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I don't have a problem if someone else were to say that one of my characters is a good one and another one is not and is a bad one. I try myself not to have any judgment towards my characters, but certainly the audience might.
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Classical tragedy was the war between good and evil. We wanted evil to be defeated and good to be victorious. But the battle in modern tragedy is between good and good. And no matter which side wins, we'll still be heartbroken.
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The bigger confrontation is the one an individual has with itself.
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It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.
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During all of my writing career - this includes when I was writing plays and my other screenplays - I don't recall ever writing a negative character, which does not mean that my characters aren't flawed or do not make mistakes. In actual fact, they all are quite flawed.
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I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
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It's the governments that create the problems. People are fun; people get along. People in Iran really love Americans. There is no problem between us.
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I really think of myself just as a filmmaker.