Asghar Farhadi Quotes
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I have two daughters.
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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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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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When I came to know theater, drama became valuable to me.
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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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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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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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It's very difficult to talk about religion in Iran because religion has gotten so mixed up with politics.
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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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There are many actors I really like and whose work I admire.
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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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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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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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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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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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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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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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Iranian filmmakers are not passive. They fight whenever they can, as creative expression means a lot to them. The restrictions and censorship in Iran are a bit like the British weather: one day it's sunny, the next day it's raining. You just have to hope you walk out into the sunshine.
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In most cultures, men represent tradition and women represent change and future. Women, because of their ability to give birth, are more connected to future. Men tend to keep the status quo.
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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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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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For me, character comes from a specific condition or situation. I cannot really define a character outside that situation.
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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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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.