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.
Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.
I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.
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.
Good cinema is what we can believe, and bad cinema is what we can't believe.
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.
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.
If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.
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.
