Some have said that these changes – the high-rise buildings, the crowd – have stifled creativity.
Mohsen Makhmalbaf: You could have your story. It doesn’t matter — high buildings or low buildings, empty city or crowded city. You can create your story, you can share your story, and through it we can understand your condition.
We have only one life, but each film gives us another life. Watching films and reading novels, they give eternality to the audience. So it’s very important to see different kinds of films, from different nations. Because many of Hollywood films are the same, they have no diversity.
Source : https://www.buro247.sg/culture/insiders/interview-with-mohsen-makhmalbaf-singapore.html
Q: Going off of that point about morality, there are a few characters in The Salesman who, in any other film, might be completely vilified or else deprived of the detail and humanity that other characters are afforded. How important is it to you that we feel empathy even for the characters who do despicable things in your movies?
IMAGE SOURCE : internet
AF: This is the most important goal that I have in my films. I was talking with my friends and I told them, “If you want to write something on my grave, it should be ‘empathy.’” I’m always working towards empathy, even with the characters who do wrong. Audiences usually put themselves in the shoes of the good characters. They never put themselves in the shoes of the person who has done something wrong. And there is no challenge when you put yourselves in the shoes of the good people. The films where characters are heroic and do lots of great things are satisfying and comfortable to audiences. But I want audiences to put themselves in the shoes of characters who have done something wrong. In order to do that, I have to create empathy for the character. And [the audience] can then ask themselves, if I were in his shoes would I do the same thing or not? And if I were to do that, what decisions would I make after that? This is kind of an excuse for the audience to make self-realizations. For example, in About Elly, the audience has to ask themselves, If I was one of those people who went on the trip, would I lie to the fiancé as well and say we didn’t know [Elly] had a fiancé? Could I lie like them or not?
Source : http://reverseshot.org/interviews/entry/2306/farhadi
Q: What qualities does a first film need for it to be a success?
image source : internet
Kiarostami : What convinced me that my first film was a success was that it was recognised in a festival and that it was selected for the award for best short film. For me, that was the criterion of success. Today, in retrospect, I do not think that a good film is a film that wins a prize. Nor do I think that a good film is one that draws a big audience or that gets positive reviews from the critics. I think that the determining criterion is its sustainability. A good film is one that lasts, that history deems worthy of staying with us. I do not remember who set this time frame at thirty years. Whoever it was said that after thirty years we can judge whether a film is sustainable, whether we even know if it still exists or if it has disappeared.
Source : http://www.festival-cannes.fr/en/article/61076.html