A Quote by Abbas Kiarostami
The Iranian government as a whole has no relationship with my films. They're not particularly interested, perhaps this kind of cinema is not very interesting to them.
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The [Iranian] government grapples with more important issues and we can maybe say that these films don't really exist for them. It's not about whether they like it or don't; it's just not very important to them.
I am extremely proud that our cinema is being recognised in the West. I want Indian cinema to get its dignity, not by giving them the kind of films they expect from us, but by making cinema in a way that carries the legacy of the mainstream masters forward.
There are things that I love in Iranian cinema and things that I don't. In Iranian cinema, you have to use metaphor because you are living under a dictatorship.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
Well, I'm really interested in the idea of making genre films, but movies have a much more personal undercurrent to them and that look beautiful, and that's sort of the films I'm kind of interested in making.
The films that I go to see at the cinema are not Hollywood blockbusters particularly. I've not got anything against them... I'm in them! But I don't go and spend my money on them.
Our films tremendously influence people. But at the same time, no one goes to the cinema to listen to lectures, so if you have an interesting story, and if you can showcase it as a film, and its messages are good, then it's like an icing on the cake: it shall be a superhit. And if I get those kind of films, I'll definitely want to work on it.
I don't even watch many huge films. I don't go to the cinema every weekend. I watch selective cinema and want to make my kind of films.
I'm always interested in relationships between women. I'm always interested in how women relate to each other, whether it's a family relationship or it's a friend relationship. That's such uncharted territory in cinema.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
French cinema has always been very interesting, and it's still very powerful. I think it goes to show that it's great to still have a cinema that doesn't try to emulate, for example, American cinema.
I'm always interested to see what films are made of books. I kind of don't participate as a filmgoer in any kind of debate about what's better, the book or the movie. So I think it's interesting when people want to do it.
I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.
My wife is very interested in fashion. I am absolutely not. I couldn't give a toss. Fashion is a perfectly valid thing to be interested in. I'm just not particularly interested in pop culture. I think I am more interested in things that have a settled permanence about them.
The Iranian government still denies the Holocaust - so you can't take them seriously. And the Israeli government spreads rumours and disinformation about Iran - because it needs to for the creation of panic. I find these theological states - and in this respect, Israel and Iran are twin brothers - very, very dangerous.
I think films would get a lot better if people paid leaving the cinema. There's a whole business plan of opening terrible films in hundreds of cinemas and then closing them when the word of mouth gets out.
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