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.
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.
It's not some big event that creates the drama, it's the little things of everyday life that bring about that drama.
The bigger confrontation is the one an individual has with itself.
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 it's important to talk about the complex issues affecting us.
It's very difficult to talk about religion in Iran because religion has gotten so mixed up with politics.
When we talk about self-confrontations, we are speaking about moral issues rather than social issues.
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.
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.
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.
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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