A Quote by Abbas Kiarostami
Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
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For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
I consider myself a better storyteller than a Dungeon Master.
As I don't consider myself exceptional, but simply a storyteller, each of my stories is really a period of my life. Deep down I feel that criticism of my work-which is the most sincere and authentic vision of myself-is unsuitable and immodest, whether it is favorable or unfavorable.
I'm not a master. I'm a student-master, meaning that I have the knowledge of a master and the expertise of a master, but I'm still learning. So I'm a student-master. I don't believe in the word 'master.' I consider the master as such when they close the casket.
I'm not a master; I'm just a hard-working filmmaker. I would like everyone to see me as a friend rather than a master.
I don't consider myself a sociologist, I consider myself a filmmaker, among other things. Maybe an asshole but a filmmaker.
I consider myself a storyteller, not really even an actor. I consider myself a storyteller.
I have an intuition, and usually my intuition is right. I have a feeling for whether a role will be good or bad for me, and I almost never make a mistake.
Intuition is the discriminative faculty that enables you to decide which of two lines of reasoning is right. Perfect intuition makes you a master of all.
Ron Howard is a great filmmaker and also a great storyteller in 60- and 30-minute shows, so why isn't he going to be a great storyteller in 10-minute pieces?
Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.
When I left university I was sure that I was going to be a painter. Then I had a crisis, a revelation. I saw Dolce Vita and my mind was blown by it, by the synthesis. I realised I wanted to be a filmmaker and started making films. I was writing screenplays and couldn't get money because my work was so uncommercial. I got married and started writing fiction. What was wonderful is that it gave me my freedom because no-one can tell me I can't work. Novels have become equally important to me as films. I consider myself a storyteller and passionately engaged in both of those disciplines.
For me, intuition comes from experience. After years of experience, a person will have, if they have been paying attention and revising their thinking and behavior, intuitions about their area of experience.
At the core, I'm a filmmaker and a storyteller.
Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.
Master storytellers like Jeffrey Archer and Arthur Hailey use simple language. But they manage to grab the attention of the readers right from page one. I'll consider myself a good storyteller the day people believe it's OK to be late for work or postpone deadlines just to finish reading my book.
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