Close-up Has Affected Later Films That I've

What I Am Trying To Say Is That It Is Not Without Any Value. The Value Of Copies Is That They Can Direct Us Towards The Original. I Was Recently At The Louvre Museum And I Was Filming People Who Were Viewing The Mona Lisa. I Noticed The Number Of Ordinary People, Astonished, Mouths Agape, Standing Still For Long Stretches Looking At The Work, And I Wondered, "where Does This Come From? Are These People All Art Connoisseurs?" They Are Like Me; Through The Years, We've Seen This Work In Our Schoolbooks Or Art History Books, But When We Stand Before The Original, We Hold Our Breath.

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.

When We Start Shooting I Don't Have Rehearsals With Characters At All. So, Rather Than Pulling Them Towards Myself, I Travel Closer To Them; It's Very Much Closer To The Real Person Than Anything I Try To Create. So I Give Them Something But I Also Take From Them.

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.

I Do Believe In [robert] Bresson's Method Of Creation Through Omission, Not Through Addition.