Asghar Farhadi Quotes

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

  Asghar Farhadi

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• 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.

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• 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.

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

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

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

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

  Asghar Farhadi

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• 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.

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

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• 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.

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

  Asghar Farhadi

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• 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.

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• 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.

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• 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?

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• 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.

  Asghar Farhadi

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

  Asghar Farhadi

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• 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.

  Asghar Farhadi

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• 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.

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• 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.

  Asghar Farhadi

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• 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.

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Asghar Farhadi (25)

Birth:	7th May, 1972
Nationality:	Iranian
Profession:	Film Director, Screenwriter

About

Asghar Farhadi was born in Homāyūnshahr, Province of Isfahan. He is an Iranian film director and screenwriter. For his work as a director, he has received a Golden Globe Award and an Academy Award for Best Foreign Language Film, among many other awards. He was named one of the 100 Most Influential People in the world by Time magazine in 2012.  He is a graduate of theatre, with a BA in Dramatic Arts and MA in Stage Direction from University of Tehran and Tarbiat Modares University, respectively. Farhadi made short 8mm and 16mm films in the Isfahan branch of the Iranian Young Cinema Society, before moving on to writing plays and screenplays for IRIB. He also directed such TV series as A Tale of a City and co-wrote the screenplay for Ebrahim Hatamikia’s Low Heights. Dancing in the Dust was his feature film debut, which he followed with A Beautiful City.

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