Asghar Farhadi Quotes

It's very difficult to talk about religion in Iran because religion has gotten so mixed up with politics.

Because I write the screenplay entirely and precisely, there is the danger that an actor might feel that this finite role is being imposed on them. I want the actors to feel that this is their own role, and that they can go back to point zero and develop this character.

Each person makes their own choice, but my spirit is meant to stay in Iran, especially with the work that I do, and with the emotional connection I have with the country - with all its difficulties, this is why I stay.

At the time when talk of war, intimidation, and aggression is exchanged between politicians, the name of their country, Iran, is spoken here through her glorious culture, a rich and ancient culture that has been hidden under the heavy dust of politics.

I prefer to stay in my country. But this doesn't mean if someone does want to leave Iran, I think they've done something wrong - the desire to leave is completely understandable.

In my opinion when you speak about relationships between people, you are actually talking about everything in their world because everything is contained in that relationship.

It's a mistake and misconception to think that one has to state everything clearly and simply for the audience to be able to follow the character, and this is what is bringing American cinema down from its position in the classic golden period. There's this misapprehension that the audience is not smart.

There are those who simply want to live their lives, and feel they cannot live the way they want to in Iran. Others are ideologically motivated: They will stay no matter what and try to change things.

Poetry, especially traditional Iranian poetry, is very good at looking at things from a number of different angles simultaneously.

Whenever I write a part, I think there's this person somewhere in the world that this part is specifically for and all I have to do is go searching to find that particular individual.

One must never tell a child what it is they should display acting.

When we talk about self-confrontations, we are speaking about moral issues rather than social issues.

I would have had the same narrative, regardless of the atmosphere and the restrictions.

The fact is I'm not making a film in order to draw pictures or make images about Iran.

Working with children is very different than the way in which I work with adults. I never tell the children the actual truth of the thing that I want them to act. Although children are really into play and play acting, and this is a major part of their existence, they never actually find the playing or acting of adults credible.

It was important to me to make a film where I don't show the past but where the spectators can see the past.

Is there one specific source that determines correct morality and everybody should follow that? Or should individuals come up with following that source or not depending on their situation?

I like storytelling movies and more than that I like historical movies; and I think someday I'll definitely make a movie about the past 50 years history.

I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath there is a hidden theme. The result of each twist is that the judgment of the audience member is challenged.

One of the biggest blessings in my life is that I have a very wonderful family, a lovely wife and two lovely daughters.

I gained a great deal from the period during which I worked in theater and I value those things a great deal.