A Quote by Marjane Satrapi

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. — © Marjane Satrapi
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 have strong sentiments toward Iran, since I distinguish between the Iranian regime and the Iranian people. I highly esteem Iranian music and culture.
Hence, when some members of the Iranian diaspora, especially women at the moment, use different tropes including the trope of the veil and the issue of gender to construct an image of oppression or to describe the 'silenced' Iranian woman, western intellectuals, policymakers, and publishing houses are all quick to introduce them as presenters of the authentic Iranian experience.
I can't make pronouncements about the entirety of Iranian cinema, because there's such a great number of filmmakers and because of the diversity of points of view and filmmaking attitudes.
I have traveled many times outside Iran, and have discussed the issue [of the Iranian nuclear project]. I have been asked for my opinion and that of the Iranian Jewish community, and I have always emphasized that the Iranian people has the right to obtain nuclear technology and energy for peaceful purposes. The Iranian people must not give up this right under any circumstances - and indeed, it will not.
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.
Newspapers are closed if they print the wrong things in Iran. Iranian journalists or Iranian-American journalists, for that matter, I think are pressured in a lot of different ways, expected to give information to intelligence services. Americans can be thrown out of the country.
Every statement that comes out of Washington that is not respectful and is trying to intimidate the Iranian people - is trying to put pressure on the Iranian people - strikes that very, very sensitive chord in the Iranian psyche, and they immediately react.
In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.
It's probably more frustrating to me as an Iranian living in America than it is when I'm over there. Inside Iran, people are actually quite well educated about America. There are things they don't understand, particularly in the government, but the people, by and large, know the American sensibility quite well, and the reverse is not true. There's a lack of knowledge about Iran and the Iranian people.
I grew up thinking of myself as an American but also, because of my parents and the Iranian culture that was in our home, as an Iranian. So if there's any such thing as dual loyalty, then I have it - at least culturally.
As a kid, I was always building things. My father had a shop in the house, and we built things - we were kind of a project family. I started out as a painter, and then painting led to cinema, and in cinema, you get to build so many things, or help build them.
Since 1979, the majority of victims of the Iranian regime have been the Iranian people themselves.
The Iranian regime doesn't express the wishes and values of the Iranian people.
No American soldier should be allowed to set foot on Iranian soil, regardless of the criticism we have of the Iranian government.
What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?
I would like to promote internal change in Iran - which is more likely if we don't fuse Iranian nationalism with Iranian fundamentalism.
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