Abbas Kiarostami Quotes

Creative Process

On Storytelling

The art of storytelling is a powerful tool for conveying emotions, experiences, and ideas to audiences worldwide. According to Iranian filmmaker Abbas Kiarostami, the act of telling stories is not merely a form of entertainment or escapism, but rather an essential means of communication that allows individuals to connect with one another on a deeper level.

“For me, storytelling is a way to be human,” Kiarostami once said in an interview. “It’s a way to share our thoughts and feelings with others, to understand each other better.” This perspective underscores the significance of storytelling as a fundamental aspect of human nature, emphasizing its role in facilitating empathy and understanding between individuals.

Kiarostami’s own filmmaking practice exemplifies this notion of storytelling as a means of human connection. Through his subtle and introspective films, he often explores the complexities of human experience, frequently using non-traditional narrative structures to create an immersive and engaging viewing experience for his audiences.

In “The Look” (2007), a short film that consists entirely of long takes featuring people from different walks of life who lock eyes with one another on the road, Kiarostami masterfully uses the medium of storytelling to explore themes of intimacy and connection. The film’s enigmatic and often poignant portrayal of fleeting moments between strangers underscores the power of storytelling to evoke emotions and spark meaningful connections in those who watch it.

“Storytelling is like a mirror,” Kiarostami has said. “It reflects our thoughts, feelings, and experiences back to us. Through stories, we can understand ourselves and others better.” This idea highlights the reciprocal nature of storytelling, suggesting that both the storyteller and the audience are engaged in an ongoing dialogue that allows for growth, understanding, and connection.

In an era where information overload and fragmentation threaten our ability to connect with one another meaningfully, the art of storytelling remains a vital force for fostering empathy, compassion, and understanding. As Kiarostami’s own work continues to inspire audiences worldwide, his ideas on storytelling serve as a poignant reminder of the enduring power of this ancient and universal human tradition.

Story is not something which we create, but rather it is the truth that comes out from every human being’s life.

The concept of story is often associated with fiction, but as Abbas Kiarostami so eloquently puts it, “Story is not something which we create, but rather it is the truth that comes out from every human being’s life.”

This profound statement highlights the idea that stories are inherent in our experiences, emotions, and relationships. They emerge from the depths of our humanity, revealing the complexities and nuances of existence.

The use of the word “truth” is particularly significant here, as it implies that stories are not just fictional accounts or embellishments, but rather a reflection of reality itself. Kiarostami’s words suggest that story is not something we manufacture, but rather an organic outcome of our lives, shaped by our experiences, memories, and interactions.

In this sense, every person has a unique story to tell, one that is distinct from others yet universally relatable. Our stories are woven from the fabric of our existence, comprised of moments, emotions, and relationships that shape us into who we are today.

This idea resonates with the concept of “ordinary” storytelling, which suggests that the most profound and meaningful stories often arise from everyday experiences rather than grand or extraordinary events. By acknowledging the inherent story in every human life, Kiarostami’s words invite us to appreciate the beauty and significance of even the most mundane aspects of existence.

In essence, the notion that “story is not something which we create” encourages us to approach our lives with a sense of wonder and curiosity. It invites us to pay attention to the subtleties of human experience, to listen to the stories of others, and to find meaning in the often-overlooked moments that comprise our shared humanity.

Improvisation and Planning

Improvisation and planning are two complementary elements that work together to create a harmonious film-making process. While planning provides the structure and foundation for a project, improvisation allows for flexibility and creative freedom.

The art of filmmaking is not just about following a script or a predetermined plan, but also about being open to unexpected moments and opportunities that may arise during the shooting process.

Abbas Kiarostami, a renowned Iranian film director, once said: “The best thing about filmmaking is the freedom it gives you. When you’re making a film, you can do anything.” This quote highlights the importance of flexibility and improvisation in film-making.

Kiarostami’s own approach to filmmaking was characterized by a balance between planning and improvisation. He would often have a clear idea of what he wanted to achieve, but would also leave room for spontaneity and creativity during the shoot.

For example, in his film “Taste of Cherry,” Kiarostami’s lead character is seen discussing the meaning of life with a stranger. This scene was not scripted beforehand, but rather improvised on set, allowing for a more authentic and naturalistic performance from the actors.

This approach to improvisation also allowed Kiarostami to capture moments that would have been impossible to script in advance. For instance, the way the characters interact with each other, or the way they respond to unexpected situations, are all authentic and genuine because of the emphasis on improvisation.

Planning is essential for organizing logistics, scheduling, and budgeting a film project. However, without a balance of planning and improvisation, the resulting film may come across as stiff, predictable, and lacking in emotional depth.

Kiarostami’s approach to filmmaking was not just about creating visually stunning images or complex narrative structures, but also about capturing the essence of human experience through the lens of his camera. By embracing both planning and improvisation, Kiarostami was able to create films that were both intellectually stimulating and emotionally resonant.

I don’t think there is any difference between planning and improvising. I think both of them are the same thing.

I don’t think there is any difference between planning and improvising. When we talk about planning, we’re thinking about something that’s happening ahead of time. But what about when we are in the middle of something? What if everything changes around us? In this case, I think it would be impossible to make a plan because everything keeps changing all the time.

Planning is like making predictions about something that hasn’t happened yet. It’s like predicting what will happen tomorrow or next week. But how can we predict the future when everything changes so rapidly? That’s why I think planning and improvising are connected in a way that’s hard to separate.

The best plans are the ones that change all the time. What if you have a plan but things don’t go according to it? Well, you just need to adjust your plan and make some new predictions. In a sense, improvising is planning with the ability to adjust quickly.

It’s like in sports or music or even in cooking. You start with an idea of what you want to do but as things go on, you need to make adjustments. It doesn’t matter if it’s a tennis match, a jazz concert or a soufflé recipe – the most beautiful creations often come from making changes as you go along.

So planning and improvising are like two sides of the same coin. Sometimes one side is more visible than the other but in reality, they’re both part of the process. It’s about being flexible, adaptable, and willing to make adjustments as needed.

In a world where things change fast, planning without improvising isn’t very useful. And improvising without planning can be chaotic. I think that’s why I prefer to see planning and improvising not as separate entities but as two connected threads in the tapestry of creativity and problem-solving.

Cinema as a Medium

The Camera

The Camera: An Observation is an essay film by Abbas Kiarostami that explores the relationship between a filmmaker and his subject. The film is divided into several sections, each examining a different aspect of this relationship.

In one section, Kiarostami focuses on the way he interacts with his subjects in a rural area, using a camera to record their daily activities. He often interrupts or interrupts his own filming, questioning the nature of observation and the role of the camera.

Through this process, Kiarostami raises questions about the relationship between reality and representation, as well as the power dynamics at play when an outsider observes a community. He also touches on issues related to authenticity, identity, and cultural ownership.

Another key aspect of the film is Kiarostami‘s examination of his own role in creating the narrative through the camera’s gaze. He reflects on how he constructs meaning by selecting certain scenes, characters, or angles to include or exclude from the final cut.

In doing so, Kiarostami blurs the lines between fact and fiction, reality and performance. This challenges both the viewer and the subject of his film, forcing them to question their roles in this process.

Throughout The Camera: An Observation, Kiarostami employs a range of techniques to disrupt and subvert our expectations about cinematic storytelling. He frequently interrupts his own shots, causing the audience to re-evaluate what they thought they were seeing.

In addition, he incorporates various narrative elements – such as fragmented narratives, ambiguity, and meta-references – to further blur the boundaries between reality and artifice.

Ultimately, Kiarostami‘s innovative approach in The Camera: An Observation serves as a commentary on the medium itself, one that reflects upon both its capacity for representation and its potential limitations.

The film’s self-awareness is also reflective of Kiarostami’s broader concerns with cinematic storytelling. By examining his own creative process, he invites viewers to consider their place within this narrative, raising questions about how we engage with and interpret visual representations of reality.

This introspective nature of the film encourages a more active engagement from its audience, who must navigate multiple layers of meaning and interpretation. It also highlights the complexities inherent in any attempt to represent the world through art or media.

By extension, The Camera: An Observation becomes not only an exploration of Kiarostami’s filmmaking process but also a reflection on the broader implications of cinematic representation in our lives and society at large.

A camera does not just take photographs, it takes memories.

A photograph is more than just an image on a two-dimensional surface; it’s a window to the past, a snapshot of a moment in time that can evoke emotions and spark memories.

When we take a photograph, we’re not just capturing a scene or a person; we’re freezing a moment that can be relived over and over again. The camera becomes a tool for preservation, allowing us to hold onto cherished moments long after they’ve passed.

Absent from the frame are not only objects, but also people’s emotions, intentions, and motivations.

But what makes a photograph truly special is its ability to evoke feelings and emotions in those who view it. A well-taken photograph can transport us back to a particular time and place, reminding us of happy memories or difficult moments from the past.

In this sense, a camera doesn’t just take photographs; it takes memories – memories that can be cherished, relived, and even passed down to future generations.

The power of photography lies not only in its ability to capture a moment but also in its capacity to evoke emotions, spark nostalgia, and inspire reflection. A photograph is more than just an image on a screen or paper; it’s a window into the past, a connection to the present, and a bridge to the future.

And so, when we take a photograph, let us remember that we’re not just capturing a moment – we’re creating memories, evoking emotions, and preserving the past for generations to come.

In doing so, we honor the power of photography as a tool for storytelling, a means of communication, and a way to capture the essence of our shared human experience.

Actors and Characters

The film world is full of paradoxes. One is that actors are never truly free. Even when they are playing characters, there is always an external force at work. This external force could be the director or the script.

I think actors should know how to navigate these complexities and still remain true to themselves. It’s a delicate balance between being guided by someone else’s vision while also staying faithful to your own artistic voice.

When I’m casting for my films, I look for actors who have a certain vulnerability. They need to be able to express their emotions in a genuine way without being too self-conscious about it.

This is often referred to as “emotional honesty.” It’s something that only comes from within and can’t be taught. When an actor has emotional honesty, they become more relatable and authentic on screen.

Acting, as I see it, is not just about playing characters or mimicking their mannerisms. It’s about tapping into the essence of who we are as human beings. We all have a deep reservoir of emotions within us that we can access through acting.

I think one of the main challenges for actors is to find this inner truth and express it in a way that resonates with audiences. This is what separates good acting from great acting. Great acting makes you feel seen, heard, and understood on a deeper level.

Characters in films often have their own motivations and desires, just like people in real life. They can be driven by love, loss, or a desire for something more. As actors, we need to tap into these complexities and bring them to life with honesty and vulnerability.

The best acting comes from a place of empathy and compassion. When an actor truly understands the character they’re portraying, they can connect with audiences on a deeper level. This is what makes great films memorable and impactful long after they’ve ended.

The actor in Iran is very important because he’s a creator, a poet. He’s not just an actor, you know.

The actor in Iran is very important because he’s a creator, a poet. He’s not just an actor, you know. They are often responsible for bringing depth to a script, adding nuance and complexity to the characters they portray. An Iranian actor must be able to convey a wide range of emotions and ideas through their performance, and this requires a strong connection with the audience as well as a deep understanding of the language, culture, and history that underlies the story being told.

Iranian cinema has a long tradition of cinematic innovation, pushing the boundaries of what is possible on screen. The role of an Iranian actor is to not only bring these stories to life but also to contribute to this ongoing conversation about what it means to be an artist in Iran, to push against the status quo and challenge societal norms through their work.

In addition to acting, many Iranian actors are writers, directors, or producers. They are multi-faceted artists who are able to tackle projects that span multiple mediums and genres. This requires a level of creativity, adaptability, and technical skill that is rare in the industry. It’s not uncommon for an Iranian actor to wear many hats at once, from writing and directing to producing and starring in their own films.

Iranian actors are also often poets or writers in their own right. Many of them have published books of poetry or essays that explore the human condition. This is a testament to their deep understanding of themselves and those around them, as well as their ability to articulate complex emotions and ideas through language.

The Iranian film industry has always been known for its high level of technical skill. From cinematography to editing to sound design, Iranian filmmakers have consistently pushed the boundaries of what is possible on screen. This requires a tremendous amount of hard work and dedication from everyone involved, but particularly from the actors who bring these stories to life.

Iranian actors are also often polymaths, with a deep understanding of history, culture, literature, and philosophy. They must be able to navigate complex scripts that draw upon multiple sources of inspiration and reference. This requires a strong foundation in the humanities as well as an ability to think critically and creatively.

As creators, poets, and actors, Iranian men and women play a vital role in shaping their country’s cultural landscape. Through their work, they help to preserve and pass on Iran’s rich history and heritage while also pushing the boundaries of what is possible through art. Their contributions are essential to the development of Iranian cinema and will continue to be celebrated for generations to come.

In conclusion, an actor in Iran is a treasured asset, not just because of their ability to bring characters to life on screen but also due to their role as storytellers, culture bearers, and ambassadors for Iranian society. They embody the country’s rich cultural heritage, its traditions of poetic expression and cinematic innovation.

Awards and Recognition

Festival Awards

The Festival Awards for Abbas Kiarostami is an honor bestowed upon the renowned Iranian film director, screenwriter, poet, photographer, and filmmaker. His works have been celebrated globally for their unique narrative style, visually striking imagery, and thought-provoking themes.

Kiarostami’s films often explore the human condition, delving into the complexities of life, love, and relationships. His cinematography is characterized by its use of natural light, capturing the subtleties of human emotions and experiences.

One of the most notable aspects of Kiarostami’s work is his experimentation with non-linear narratives. He often employs unconventional storytelling techniques, blurring the lines between reality and fiction. This approach has garnered him widespread acclaim for pushing the boundaries of cinematic art.

In a Festival Awards ceremony honoring Kiarostami’s contributions to world cinema, his quotes were shared among attendees and film enthusiasts alike. His words serve as a testament to his passion for filmmaking and its ability to transcend cultural and linguistic barriers.

“A film is never completed without the participation of an audience,” Kiarostami once said in an interview. This statement reflects his commitment to engaging with his viewers on multiple levels, creating a dialogue that extends beyond the confines of the screen.

His films often raise questions about the nature of reality and our perceptions of it. By challenging conventional narrative structures and employing unconventional visual elements, Kiarostami‘s work invites audiences to re-examine their assumptions and engage with the material on a deeper level.

The Festival Awards for Abbas Kiarostami serve as a fitting tribute to his groundbreaking contributions to the world of cinema. His quotes continue to inspire filmmakers, artists, and audiences worldwide, cementing his status as one of the most influential figures in contemporary filmmaking.

When I win awards at festivals, I always feel embarrassed.

Awards can be a double-edged sword when it comes to the creative process. On one hand, recognition from peers and critics alike can validate an artist’s hard work and provide a sense of accomplishment. However, for individuals like Abbas Kiarostami, the renowned Iranian filmmaker, winning awards at festivals can evoke feelings of embarrassment.

Kiarostami’s perspective on this matter may seem counterintuitive, as many would expect him to bask in the glory of his accolades and be grateful for the recognition. Nevertheless, Kiarostami has spoken candidly about how receiving awards makes him feel awkward and uneasy.

There are several reasons why Kiarostami might feel this way. For one thing, he is a deeply introspective person who values simplicity and humility in his work. He often shuns the spotlight and prefers to let his art speak for itself, rather than drawing attention to himself as an individual. When he receives awards, it may strike him as incongruous with his artistic ideals.

Moreover, Kiarostami has spoken about how winning awards can create a sense of disconnection between himself and his audience. As a filmmaker, he is deeply invested in the emotional and spiritual resonance of his work, and the recognition he receives may lead to a loss of touch with his original intentions and motivations.

Furthermore, Kiarostami’s modest demeanor and lack of pretension may contribute to his feelings of embarrassment when receiving awards. He has been known to attribute his success to luck, circumstance, or even the audience’s generosity, rather than taking credit for his own talents and accomplishments.

Kiarostami’s stance on awards also reflects a more nuanced understanding of artistic creation. Rather than seeing awards as validation or a measure of one’s worth as an artist, he may view them as simply another aspect of the complex web of influences and experiences that shape his work.

Ultimately, Kiarostami’s feelings about awards may be rooted in his commitment to remaining true to himself and his artistic vision. By embracing humility, simplicity, and a deep connection with his audience, he has created a body of work that continues to inspire and captivate audiences around the world.

Academy Award

The Iranian film director and screenwriter Abbas Kiarostami left an indelible mark on the world of cinema with his thought-provoking films that often explored the complexities of human nature, reality, and storytelling. Throughout his illustrious career, he garnered numerous accolades, including a Honorary Academy Award for his contributions to cinematic art.

Kiarostami’s films frequently blurred the lines between fiction and reality, inviting viewers to participate in an ongoing dialogue about the nature of truth, authenticity, and perception. His movies often began with mundane, everyday scenarios that gradually escalated into profound explorations of the human condition.

As a director, Kiarostami was known for his unconventional approach to storytelling, which frequently involved using non-professional actors and improvisational techniques to create authentic, spontaneous performances. This innovative approach allowed him to tap into the raw emotions and experiences of his subjects, resulting in films that were both deeply personal and universally relatable.

Kiarostami’s Academy Award win was a testament to his groundbreaking contributions to world cinema, as well as his unwavering commitment to pushing the boundaries of storytelling and challenging audiences to think critically about the world around them. His legacy continues to inspire filmmakers across the globe, ensuring that his artistic vision and philosophical ideals will endure for generations to come.

Some of Kiarostami’s most notable quotes shed light on his perspective on cinema, art, and the human experience. He once said: “The more I make films, the more I realize how much I don’t know.” This self-deprecating remark reveals his humility as a filmmaker, as well as his recognition that there is always more to learn from the world around us.

Another insightful quote by Kiarostami emphasizes the importance of simplicity in filmmaking: “The simplest image can be more powerful than a complex one. Because it’s less open to interpretation.” This observation underscores his emphasis on clarity and directness as essential qualities for effective storytelling, whether through images or words.

As a cinematic artist who consistently challenged conventions and pushed the boundaries of what is possible on screen, Kiarostami left behind a body of work that continues to inspire filmmakers, critics, and audiences alike. His Academy Award win stands as a testament to his profound influence on world cinema, and his quotes offer valuable insights into the creative processes and philosophical ideals that guided his artistic vision.

To me it means nothing because I never believed that cinema was something to do with competition.

To me, the statement “To me it means nothing” is a reflection of the director’s perspective on the concept of competition in the context of cinema. It suggests that for Abbas Kiarostami, competition is not an integral aspect of filmmaking or artistic expression.

The phrase “because I never believed that cinema was something to do with competition” provides further insight into Kiarostami’s worldview. It implies that he views cinema as a medium for storytelling, self-expression, and artistic exploration, rather than a competitive endeavor.

As an Iranian filmmaker known for his thought-provoking and visually stunning works, Kiarostami’s perspective on competition is not surprising. His films often focus on the human experience, relationships, and the nuances of everyday life, rather than seeking to outdo others in terms of technical skill or commercial success.

Kiarostami’s rejection of competition as a driving force behind his art is also reflective of his Iranian background and the cultural values that underpin it. In many traditional Persian arts, such as calligraphy and poetry, the pursuit of perfection is valued over competition with others. This emphasis on personal expression and craftsmanship is evident in Kiarostami’s filmmaking style, which prioritizes subtlety, nuance, and emotional depth over flashy spectacle or showmanship.

In essence, Kiarostami’s statement serves as a reminder that art should be created for its own sake, rather than as a means to outdo others. His perspective challenges the dominant Western notion of competition in artistic expression and instead offers a more contemplative and humanistic approach to creativity.

Furthermore, Kiarostami’s rejection of competition can also be seen as a reflection of his broader critique of modern society and its values. His films often serve as social commentary, highlighting the alienation, fragmentation, and superficiality that can result from the pursuit of material success and status at any cost.

By choosing not to engage in competitive filmmaking practices, Kiarostami’s work serves as a testament to his commitment to artistic integrity and personal vision. His statement is a powerful reminder that true creativity and innovation emerge from a place of authenticity and passion, rather than a desire for external validation or recognition.

In conclusion, Abbas Kiarostami’s statement “To me it means nothing” is a poignant reflection of his worldview as a filmmaker who values artistry over competition. His rejection of the latter serves as a powerful commentary on modern society and its values, reminding us that true creativity and innovation emerge from a place of authenticity and passion.