ASGHAR FARHADI

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

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

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.

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.

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.

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.

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.

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?

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.

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.

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

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

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

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 feel it's important to talk about the complex issues affecting us.

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.

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.

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

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.

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

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 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.

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

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