I'm Still Very Grateful To Digital Cameras

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.

If You Are A Businessman Or A Politician In Iran, You Can Get A Visa As Quickly As You Ask For It.

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.

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.

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.