The one-word cinema wasn't possible for me anymore. I'd hit a wall, a dead end. Therefore I thought I'd turn back. Abbas Kiarostami More Quotes by Abbas Kiarostami More Quotes From Abbas Kiarostami In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is. Abbas Kiarostami mood real firsts When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film. Abbas Kiarostami different sitting culture In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply. Abbas Kiarostami individual-strength real doe I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go. Abbas Kiarostami home football thinking I really enjoy listening to stories. I remember them and keep them in my mind. Abbas Kiarostami stories listening mind I wasn't searching for a common denominator - I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking. Abbas Kiarostami other-cultures challenges common When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life. Abbas Kiarostami real character people My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated. Abbas Kiarostami progress elements kind I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it's still nothing but a copy. Abbas Kiarostami digital fashion giving I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film. Abbas Kiarostami cameras blessing people I think that if you're a digital thinker, you can use a digital camera. Abbas Kiarostami cameras use thinking In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes. Abbas Kiarostami fashion men looks I thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress. Abbas Kiarostami acting challenges way I thought that I had been asked every kind of question possible. Abbas Kiarostami kind There were years when Hitchcock was like a master to me, but now I think he's so artificial. I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality. Abbas Kiarostami beautiful years thinking I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally. Abbas Kiarostami film important students You've noticed that same joke told by two different people, once works, and the other time doesn't, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize - all of this matters. Abbas Kiarostami different silence people While shooting Ten I was sitting in the backseat, but I didn't interfere. Sometimes, I was following in another car, so I was not even present on the "set", because I thought they would work better in my absence. Abbas Kiarostami shooting car sitting Close-Up has affected later films that I've made. Abbas Kiarostami affected film made It's very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them. Abbas Kiarostami intimate-moments cameras light
