Abbas Kiarostami Quotes
Abbas Kiarostami (Persian: ???? ?????????? pronunciation ; 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, photographer and film producer. An active film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–94), Close-Up (1990), Taste of Cherry (1997) – which was awarded the Palme d'Or at the Cannes Film Festival that year – and The Wind Will Carry Us (1999). In his later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively
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I film normal-life subjects in natural settings that some people would consider uncinematic. But what I want to show is nature itself, as the truth of life.
My way of expression is full of complications and mystery because that's my perception of life.
I think Woody Allen is Woody Allen, and no matter where he goes he still makes his Woody Allen films.
All the different nations in the world, despite their differences of appearance and religion and language and way of life, still have one thing in common, and that is what's inside of all of us. If we X-rayed the insides of different human beings, we wouldn't be able to tell from those X-rays what the person's language or background or race is.
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.
When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.
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.
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.
I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
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.
Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
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.