A Quote by Abbas Kiarostami

I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.
It makes no sense to bad mouth people, but I think Jean-Luc Godard is astonishing as a survivalist, somebody who can do a film that is as extraordinary as Goodbye to Language.
I really liked the Jean-Luc Godard movie, 'Film Socialisme.'
So I called and said, 'Mommy, I'm doing a political film with Jean-Luc Godard. You have to come and sign the contract.' She thought I was lying, so she hung up the phone. But then she came the next day, even though she had never taken an airplane in her life. She came to Paris and she signed my contract.
Suddenly I had a call one day saying they'd like me to come to the office to see Jean-Luc Godard. 'He is preparing a film called 'Breathless.' Jean would like to see you.' I said yes. I thought he was pretty strange, because at that time nobody was wearing those kind of glasses where you couldn't see the eyes.
Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film.
Jean-Luc Godard saw me in a commercial. He first asked me to play a little part in 'Breathless' of a girl who is taking her clothes off. I said, 'No, I don't want to take my clothes off.' But he called me again for 'Le Petit Soldat.' He said it was a political film, so I didn't have to take my clothes off at all.
I have been a long time fan of Jean-Luc Godard. It's my dream to work with him.
Jean-Luc didn't like me to say any bad words in real life, and I would always do it on purpose, just for fun. And he would go crazy! Then he had Brigitte Bardot do just that in 'Contempt.' And in that film she also has this line - 'I want red velvet curtains, or nothing at all in the apartment' - which was something I would always say.
I've always thought - and I don't even know if I'd be right for the part - that Jean Seberg would make a great biopic. She was in Jean-Luc Godard's 'Breathless,' she played Joan of Arc. She had this eventful and traumatic adulthood, she thought the FBI was after her, and she became a darling of the French New Wave.
Even if I make fun of him, I try to portray him as a human being. Sometimes because he's the great Jean-Luc Godard, we see him as a concept.
Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.
Anne Wiazemsky wrote two books about her life with Jean-Luc Godard between 1966 and 1969. And I first read the second one, which is about the fall of their love story and their marriage. I immediately thought there was a movie to make with this book because it was so funny, and I thought the love story was very, very touching.
Her voice was like a line from an old black-and-white Jean-Luc Godard movie, filtering in just beyond the frame of my consciousness.
When you're about 20 years old, you kind of think out - I figured out that it was better - less good to be successful and better to have a laughing life, laugh more than you frown all through your life. Because on the day you die, which one would you have said had the happier life, the better life? And so I put a lot of humor in my life.
On these feature films there are people on the staff who can draw 100 times better then I can, and animate better then I can, and light better then I can, write comedy better then I can. I basically am in the middle of kind of a creative typhoon and I'm just kind of talking the film up on to the screen. Minute to minute, meeting by meeting, day by day.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through. Studios no longer do this for a large percentage of films. The odds that your film will get a major campaign are dim these days. So you must find and nurture your own audience and make sure your film has a life.
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