A Quote by Bahman Ghobadi

Actually, the only thing I regret is not making more underground films and bringing them with me as historical documents. — © Bahman Ghobadi
Actually, the only thing I regret is not making more underground films and bringing them with me as historical documents.
The best thing about making films is the time spent making them. When I see works that I've made, I always think what a great time I had making them. The films remind me of that time.
I don't regret doing any of my films. All of them have been great learning experiences, and they have contributed to making me what I am today.
When I was younger, making films was so all-consuming. It was a life-or-death thing. Films still mean so much to me when I'm making them. So I had to get away from that attitude of living or dying with every film, because otherwise you'll go insane.
The only way you can learn about making films is by making them, by putting your stamp on the thing.
I'd love to make films in England, and I tried to. I think there's a wealth of amazing talent and astonishing writing over here; there just seems to be more of a culture of developing films than actually making them.
I'm pretty fortunate that I'm in the films I'm in largely because the directors have asked me to be in them. I'd love to do more of them, but the writing and historical stuff I'll probably always do.
I have fun making films. I love making films. It's the only thing I know how to do. And I do it well.
My biggest regret is that I've assisted the media in making me into a cartoon character. I don't regret what has happened to me, but I regret the way I have dealt with it.
Like sex, poverty and power, suicide may always be with us. But like them again, the actual form is takes is essentially time-specific and culture-bound, not only in the past but in the present too. The people who took their lives, the paths which led them to that end, and the experience of dying in this way were deeply influenced by specific historical circumstances. Only by making a greater effort at historical understanding can this most secret house of death be made to yield up more of its confidences.
Making films is much more difficult than people imagine, and so the experience of actually directing them is not one I've ever relished.
Lot of people liked me in 'Manorama Six feet Under,' 'Oye Lucky Lucky Oye,' 'Dev D' and 'Shanghai' and the only common thing in all these films is that when we were making them we never thought they would work. The ones that did not work were safe films.
Underground. Which I hate. Like mines and tunnels and 13. Underground, where I dread dying, which is stupid because even if I die aboveground, the next thing they'll do is bury me underground anyway.
It's kind of ironic that when you look at the evidence of intelligence and so on, a lot of it is anecdotal. A lot of it is, "Well, we saw this dolphin do this extraordinary thing," or, "We screwed up with our apparatus, and then the dolphins did this." And so it seems to me that the more we can actually watch them doing their thing, the better chance we'll have of making some sense of them.
You must know that Iran has a great number of productions. Many films are released. Most of them, like in the rest of the world, are commercial and shallow films. These are the most popular ones. And there are a few ones that actually develop more profound and thoughtful aspects of life. Only some of these films travel out of Iran.
Actually, the only thing that I can honestly say I really regret now is the blackface thing. I did not understand.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
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