A Quote by Asghar Farhadi

If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
People will watch your film only if it's good. Another star's flop won't make your film a hit. So my race is with myself.
I think it took a long time for me to realise that as much as I respect reviews and do engage with reviewers as a viewer of the theatre, television and film it's really unhelpful. Even if people make perceptive and interesting comments about your performance, it is so subjective and you will come in and change what you do, you can't help it.
But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
I think there's a time and place to watch an independent film, or catch up on a French action film on your laptop, or Netflix it, or download it, or watch it on-demand. But I think we also have to maintain the sacredness of the movie theatre as church - especially with event screenings.
As an actor, you have many tools - your body, your voice, your emotions, mentally. In film, you have your eyes because they communicate your thought process. In fact, generally in film, what you don't say is more important than what you say. That's not so much the case for stage.
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
Any advice I could give to female directors would be the same as for males: There will be endless difficulties, some seemingly defeating, on your way. That's a given. Just wipe out the very notion of stress. Concentrate on your actors. Obsess about your story and the world it is anchored in. Deal with the hundreds of down-to-earth issues [around] the existence of your film. At some point, everything will be ripe. And you wouldn't be able to stop your film from coming to life even if you wanted to.
I only would say yes to a film, do a film or any project, if I think I would watch it. Whether the audience will like it, not like it, how will they take to the film, these are not things in your control and you shouldn't bother about them.
I don't make movies. I don't feel that I have to have artistic control. Part of this comes from the fact that the book lives on no matter what Hollywood does to your novel in terms of a film. Now, you try to be careful who you allow to do your film because nobody wants their novel to become a turkey movie. But, on the other hand, it is a crapshot anyway, because even the best people can make a bad film.
You don't really know how your film is going to turn out, but you can give it your best shot and hope the audience loves it. This has been my approach right from the beginning, and it's helped me a lot in my journey. All you can do is give the film your everything.
Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.
If one person doesn't like your film, if he's powerful, your film will never see the light of day.
The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.
It's what you don't see that keeps you on the edge of your seat in any kind of film - leave it to the imagination of the viewer.
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