Top 100 Kiarostami Quotes
#1. Film begins with DW Griffith and ends with Abbas Kiarostami.
Jean-Luc Godard
#2. [Abbas Kiarostami] is a great artist and a poet. I sometimes think that if Samuel Beckett made films, he'd make them like Kiarostami makes them.
Anthony Minghella
#3. Light: the greatest painter and photographer of all. At every single moment of our lives we see different images, different pictures.
Abbas Kiarostami
#4. In the total darkness, poetry is still there, and it is there for you.
Abbas Kiarostami
#5. I've often noticed that we are not able to look at what we have in front of us, unless it's inside a frame.
Abbas Kiarostami
#6. It's very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.
Abbas Kiarostami
#7. I thought that I had been asked every kind of question possible.
Abbas Kiarostami
#8. This concept that you refer to in Buddhism is something I've been nurtured with through the history of my country for 700, 800 years - Persian poets and philosophers haven't said anything different with regard to experiencing life in the moment, as opposed to the belief of permanence.
Abbas Kiarostami
#9. Poetry always runs away from you - it's very difficult to grasp it, and every time you read it, depending on your conditions, you will have a different grasp of it. Whereas with a novel, once you have read it, you have grasped it.
Abbas Kiarostami
#10. Religion works on some people but not on everyone, because it says, 'Stop thinking and accept what I tell you.' That's not valid for people who want to think and reflect.
Abbas Kiarostami
#11. I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all. This is something I really mean.
Abbas Kiarostami
#12. While shooting Ten I was sitting in the backseat, but I didn't interfere. Sometimes, I was following in another car, so I was not even present on the "set", because I thought they would work better in my absence.
Abbas Kiarostami
#14. I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
Abbas Kiarostami
#15. Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.
Abbas Kiarostami
#16. I'm not sure that my films show the reality of life in Iran; we show different aspects of life. Iran is a very extensive and expansive place, and sometimes, even for us who live there, some of the realities are very hard to comprehend.
Abbas Kiarostami
#17. I think that if you're a digital thinker, you can use a digital camera.
Abbas Kiarostami
#18. I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
Abbas Kiarostami
#19. In my films, I try to give people as little information as possible, which is still much more than what they get in real life. I feel that they should be grateful for the little bit of information I give them.
Abbas Kiarostami
#20. A digital camera does have many advantages and I was a believer that digital video would be a big influence on film-making.
Abbas Kiarostami
#22. I really enjoy listening to stories. I remember them and keep them in my mind.
Abbas Kiarostami
#23. Usually when I write a script, I have in mind some real people that I'm writing about, who don't always act in the film afterward.
Abbas Kiarostami
#24. 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.
Abbas Kiarostami
#25. It's not so much a question of whether we've shot it through 35mm or digital video; what is important is whether the audience accepts it as real.
Abbas Kiarostami
#26. I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.
Abbas Kiarostami
#27. We don't look at each other [in the car], but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult.
Abbas Kiarostami
#28. In order to be universal, you have to be rooted in your own culture.
Abbas Kiarostami
#29. Film is very much a universal and common voice, and we can't limit it to one particular culture.
Abbas Kiarostami
#30. Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
Abbas Kiarostami
#31. Some movies bring out the creativity in you. Every single audience member can become creative in the face of a particular movie. If you happen to like my films, it's because my films provide a bed for you on which you can find your creativity. The Hollywood movies do not provide that for you.
Abbas Kiarostami
#32. Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
Abbas Kiarostami
#33. This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do - we bring out elements that we want to emphasise.
Abbas Kiarostami
#34. I thought that choosing a non-professional was a condition for me, because it would allow Juliette to have a less-professional way of acting. It would challenge her performance as a professional actress.
Abbas Kiarostami
#35. I think being someone in love is so hard to define, so temporary, because retrospectively we often deny the state in which we were in love.
Abbas Kiarostami
#36. The digital camera has given me total freedom and a different way of filming.
Abbas Kiarostami
#37. In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.
Abbas Kiarostami
#38. I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.
Abbas Kiarostami
#39. A good movie is made by an initial burst of energy, the way that, when you are in school, your class exercises are always better than your final projects.
Abbas Kiarostami
#40. Having an international voice is not really about whether we speak Persian or any other language.
Abbas Kiarostami
#41. As film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.
Abbas Kiarostami
#42. This kind of directing, I think, is very similar to being a football coach. You prepare your players and place them in the right places, but once the game is on, there's nothing much you can do - you can smoke a cigarette or get nervous, but you can't do much.
Abbas Kiarostami
#43. I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic; so I have my doubts.
Abbas Kiarostami
#44. To me, AIDS is an international epidemic and every country can be affected by it. Therefore, it can be discussed on an international level. Unfortunately, AIDS doesn't require a visa.
Abbas Kiarostami
#45. When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life.
Abbas Kiarostami
#46. I don't know whether it is fortunate or unfortunate, but I have no such thing as national pride. I don't feel proud that I am Iranian. I happen to be who I am.
Abbas Kiarostami
#47. You won't believe it but
I quench my thirst
by drinking from a mirage.
Abbas Kiarostami
#48. I did not have a script [of Close Up]. I made notes in the evenings and we filmed during the day over 40 days.I didn't sleep a wink for those 40 nights. I have a picture from the end of the shoot, and in it I have lost all my hair.
Abbas Kiarostami
#49. The experience of life teaches us that being like someone in love is more real, because everything is uncertain.
Abbas Kiarostami
#50. I didn't just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
Abbas Kiarostami
#52. The calling of art is to extract us from our daily reality, to bring us to a hidden truth that's difficult to access - to a level that's not material but spiritual.
Abbas Kiarostami
#53. Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it's sometimes very difficult to direct or order them to do something.
Abbas Kiarostami
#54. When I met Akira Kurosawa in Japan, one question he asked me was, "How did you actually make the children act the way they do? I do have children in my films but I find that I reduce and reduce their presence until I have to get rid of them because there's no way that I can direct them."
Abbas Kiarostami
#55. We are nothing but a link between our culture and what we can actually produce.
Abbas Kiarostami
#56. As soon as people enter a theater they must become moron consumers who must be fed information.
Abbas Kiarostami
#57. It's true that the best way of knowing yourself is to put yourself into different situations.
Abbas Kiarostami
#58. My car is my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We're in the most comfortable seats because we're not facing each other, but sitting side by side.
Abbas Kiarostami
#59. There is violence in real life but I would never impose violence in a film just to attract the audience.
Abbas Kiarostami
#60. 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.
Abbas Kiarostami
#62. Anything I've not experienced I do not look to for a subject. I have to feel it.
Abbas Kiarostami
#63. Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.
Abbas Kiarostami
#64. Of the hundreds of points to enter and exit that are offered to me, I have to choose the one that I feel is the least wrong, the least fake. It is fake, it is a moment that I choose to erupt the story, but I make it as smooth as I can. What enables me to do it is the skill of filmmaking.
Abbas Kiarostami
#65. The full moon
reflected in water,
the water
contained in the bowl,
and the thirsty man
deep in sleep.
Abbas Kiarostami
#66. In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.
Abbas Kiarostami
#67. My way of expression is full of complications and mystery because that's my perception of life.
Abbas Kiarostami
#68. From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.
Abbas Kiarostami
#69. Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
Abbas Kiarostami
#70. The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.
Abbas Kiarostami
#71. I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.
Abbas Kiarostami
#72. In my mind, there isn't as much of a distinction between documentary and fiction as there is between a good movie and a bad one.
Abbas Kiarostami
#73. The one-word cinema wasn't possible for me anymore. I'd hit a wall, a dead end. Therefore I thought I'd turn back.
Abbas Kiarostami
#74. If we're not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas - I have no problem with 35mm.
Abbas Kiarostami
#75. Everybody knows that I am not usually patient enough to actually sit down and watch one of my own films from the beginning to the end - I never do.
Abbas Kiarostami
#76. The day we run out of petrol is the day Iran will be free.
Abbas Kiarostami
#78. In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.
Abbas Kiarostami
#79. When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.
Abbas Kiarostami
#80. I really haven't seen The Report in a long time. I don't have a copy, but I'll have to see it again. I think it would be good to put both these men next to each other.
Abbas Kiarostami
#81. I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it's still nothing but a copy.
Abbas Kiarostami
#82. Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them.
Abbas Kiarostami
#84. If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.
Abbas Kiarostami
#85. I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.
Abbas Kiarostami
#86. I can only display what I've been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn't deserve this heritage.
Abbas Kiarostami
#87. If I do continue to have the opportunity to work in Iran, that's very much what I'd prefer to do.
Abbas Kiarostami
#88. My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
Abbas Kiarostami
#89. I film normal-life subjects in natural settings that some people would consider uncinematic. But what I want to show is nature itself, as the truth of life.
Abbas Kiarostami
#90. If you catch me coming out of a film, when I'm emotionally involved, I can tell you at that moment why I like it - but to talk about it years later is not logical to me.
Abbas Kiarostami
#91. It is a very important film, Life And Nothing More, in that what was filmed was inspired by a journey I had made just three days after an earthquake. And I speak not only of the film itself but also of the experience of being in that place, where only three days before 50,000 people had died.
Abbas Kiarostami
#92. Whenever people ask me what the story is for my next film, I won't tell and people feel it's because I'm being secretive or something, but it's actually because I'm ashamed to sum up a film in three sentences.
Abbas Kiarostami
#93. I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
Abbas Kiarostami
#94. In my experience as a director, I think there is obviously something of the way men - maybe that's a common point with Shirin - the way men see women in the film, and the way these two characters see each other.
Abbas Kiarostami
#95. My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
Abbas Kiarostami
#96. The only thing that I can do is hold a mirror in front of men and women, in front of the viewer in the theater, to reflect. There is nothing but reflection that I could intend to offer the viewer of the film.
Abbas Kiarostami
#97. Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.
Abbas Kiarostami
#98. I don't like reverse-angle shots - I find them very fake and very untruthful to the viewer.
Abbas Kiarostami
#99. I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
Abbas Kiarostami
#100. As long as I take the responsibility of the choice, I have to make the choice that is as right as possible.
Abbas Kiarostami
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