A Work Of Art Doesn't Exist Outside

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.

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.

Close-up Has Affected Later Films That I've Made.

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.

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." My Own Thought Is That One Is Very Grand, Like An Emperor On A Horse, And It's Very Hard For A Child To Relate To That. 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.