I think the contrast between ...
I think the contrast between these two in the professional world of cinema mattered to me. One who has reached the ultimate point of being a star, who knows how to do everything very well, facing another person who would throughout the making of the film transfer his anxiety to both of us, to me and to Juliette, as to whether or not he would be capable of fulfilling his role. This in itself created a challenge that was actually very good for me, since I hadn't ever counterposed two such performers before, creating that challenge between someone who knows their part and someone who doesn't.
This concept that you refer t...
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.
It is a very important film, ...
It is a very important film, Life And Nothing More, in that what was filmed was inspired by a journey I had made just three days after an earthquake. And I speak not only of the film itself but also of the experience of being in that place, where only three days before 50,000 people had died.
It was a film that I knew, th...
It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].
The kind of sleep that I had ...
The kind of sleep that I had during my own film [Certified Copy] screening in Cannes is different. It's not because of the specificity of the film. It was because of my relationship as an author to this film. 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. Whereas this time, I didn't have that responsibility on my shoulders.
This kind of directing, I thi...
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 we start shooting I don'...
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.
I never intended to write poe...
I never intended to write poems, nor to be a photographer, nor to be a film-maker. I just took many, many pictures and I would put them in an album, and then some years later I decided to show them and suddenly I was called a photographer. Same thing with my poetry. They're notes that I'd written in a book and it may be considered poetry.
The fact of having this very ...
The fact of having this very new context, this unheard-of way of working, for me was very pleasant. I didn't feel that I was working, that I had any kind of burden to wear, to carry. I really was very happy and very lighthearted during the whole process of making the film [Certified Copy], of shooting it.
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