Asghar Farhadi Quotations

Iranian filmmakers are not passive. They fight whenever they can, as creative expression means a lot to them. The restrictions and censorship in Iran are a bit like the British weather: one day it's sunny, the next day it's raining. You just have to hope you walk out into the sunshine.

Classical tragedy was the war between good and evil. We wanted evil to be defeated and good to be victorious. But the battle in modern tragedy is between good and good. And no matter which side wins, we'll still be heartbroken.

The bigger confrontation is the one an individual has with itself.

It's not some big event that creates the drama, it's the little things of everyday life that bring about that drama.

It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.

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

I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.

There is no privilege in restriction. In other words, I disagree with people who say restriction makes you more creative. I think that's a misleading slogan. I might have been more creative without them than with them.

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 feel its important to talk about the complex issues affecting us.

I think it's insulting to an audience to make them sit and watch a film and then give them a message in one sentence.

When I came to know theater, drama became valuable to me.

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

I feel that it means a lot to the people of Iran that my film is represented at the Oscars, and it makes me happy to bring them that joy, that I'm representing them and that I'm able to give them that element of pleasure to be the envoy from Iran. It's a very pleasant thing.

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.

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.

Often times, music is used to evoke an emotion and it's become a cliche, so I don't want to do that, and actually what I do, is that emotional intensity that has developed throughout the film, I allow it to get released by having that music at the end with the credits.

When I decide to write a story, I don't think too much about what I want it to be, I just let things come naturally and this is how it turns out. It's just how my subconscious works.

Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.

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

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

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

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

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.

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.

I feel it’s important to talk about the complex issues affecting us. And these are complex issues. I think it’s insulting to an audience to make them sit and watch a film and then give them a message in one sentence.

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.

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

I see screenwriting as a bit like a math equation which I have to solve.

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

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.

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.

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.

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

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.

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.

I like storytelling, and for storytelling you need a drama. And for there to be drama, you need twists, and by twists I mean the ability to constantly change the trajectory of the story.

I'm always careful about the thing I'm writing to make sure a viewer can imagine it happening to themselves.

The fact that I do place music at the end of my films is not to accentuate the emotion. It serves an opposite purpose which is to remove them from the emotional space and allow them to enter a space of thinking, because I believe that when the audience is watching the film they're watching it with their feelings.