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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People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people's minds to lazy minds.
Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
Of the hundreds of points to enter and exit that are offered to me, I have to choose the one that I feel is the least wrong, the least fake. It is fake, it is a moment that I choose to erupt the story, but I make it as smooth as I can. What enables me to do it is the skill of filmmaking.
As long as I take the responsibility of the choice, I have to make the choice that is as right as possible.
The starting point and the ending point are nothing but two arbitrary choices. You make them as in soccer games, where they chose that it's 90 minutes, not less and not more. But the choices are the responsibility of the filmmaker. You have to choose to join the story at an arbitrary point, and you leave it at an arbitrary point.
I don't like reverse-angle shots - I find them very fake and very untruthful to the viewer.
It's true that the best way of knowing yourself is to put yourself into different situations.
In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.
We don't look at each other [in the car], but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult.
When I met Akira Kurosawa in Japan, one question he asked me was, "How did you actually make the children act the way they do? I do have children in my films but I find that I reduce and reduce their presence until I have to get rid of them because there's no way that I can direct them."
Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.
A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.
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.
I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.
I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of person.