Asghar Farhadi Quotes
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Each person makes their own choice, but my spirit is meant to stay in Iran, especially with the work that I do, and with the emotional connection I have with the country - with all its difficulties, this is why I stay.
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I like storytelling movies and more than that I like historical movies; and I think someday I'll definitely make a movie about the past 50 years history.
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I'm always careful about the thing I'm writing to make sure a viewer can imagine it happening to themselves.
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The bigger confrontation is the one an individual has with itself.
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The first theme that every audience can get easily everywhere in the world is the theme of judgment. You are constantly judging if this character is doing something wrong or right, or the other character is doing something right or wrong.
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One must never tell a child what it is they should display acting.
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Whether we like it or not, the modernity is something that comes from Western countries, and when the modernity comes to the Eastern countries, although they feel like they really need it, at the same time it shakes the very fundament of the culture - there is always this challenge between the two.
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In my opinion when you speak about relationships between people, you are actually talking about everything in their world because everything is contained in that relationship.
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I like storytelling, and for storytelling you need a drama. And for there to be drama, you need twists, and by twists I mean the ability to constantly change the trajectory of the story.
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When I came to know theater, drama became valuable to me.
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We always have the movies that are more toward real life, but they don't have that much drama or suspense, or we have the full of drama or suspense, but they're far away from real life. Always when I was watching a film, films with good drama, I was thinking, "I wish they were more close to real life." But when I was watching real life films I was thinking, "Well I wish it had more drama." I've tried, in the movies that I worked so far, to get these two things closer and closer to each other.
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I prefer to stay in my country. But this doesn't mean if someone does want to leave Iran, I think they've done something wrong - the desire to leave is completely understandable.
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Is there one specific source that determines correct morality and everybody should follow that? Or should individuals come up with following that source or not depending on their situation?
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It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.
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I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.
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Whenever I write a part, I think there's this person somewhere in the world that this part is specifically for and all I have to do is go searching to find that particular individual.
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When I decide to write a story, I don't think too much about what I want it to be, I just let things come naturally and this is how it turns out. It's just how my subconscious works.
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Poetry, especially traditional Iranian poetry, is very good at looking at things from a number of different angles simultaneously.
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It's very difficult to talk about religion in Iran because religion has gotten so mixed up with politics.
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The fact is I'm not making a film in order to draw pictures or make images about Iran.
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At the time when talk of war, intimidation, and aggression is exchanged between politicians, the name of their country, Iran, is spoken here through her glorious culture, a rich and ancient culture that has been hidden under the heavy dust of politics.
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Classical tragedy was the war between good and evil. We wanted evil to be defeated and good to be victorious. But the battle in modern tragedy is between good and good. And no matter which side wins, we'll still be heartbroken.
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I would have had the same narrative, regardless of the atmosphere and the restrictions.
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Sometimes we feel like life is like theater, really.
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It was important to me to make a film where I don't show the past but where the spectators can see the past.
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I always thought that in the countries that the modernity kicks in later, it seems that everything changes on the surface, the physical things change, but inside, things haven't changed, really. This is always the challenge of this kind of community, to make a harmony between the cultural traditions and the modernity of modern life.
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There are those who simply want to live their lives, and feel they cannot live the way they want to in Iran. Others are ideologically motivated: They will stay no matter what and try to change things.
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I feel its important to talk about the complex issues affecting us.
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I think that theater is the closest medium to music. It's very pure. It's for the elite of the society. It's not for everyone in the society.
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Iranian filmmakers are not passive. They fight whenever they can, as creative expression means a lot to them. The restrictions and censorship in Iran are a bit like the British weather: one day it's sunny, the next day it's raining. You just have to hope you walk out into the sunshine.
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