I love Tarantino and Kiarostami both, albeit I haven't watched all of the later's films. I wonder how they could take each other's films' stories and make them in their own style. I mean imagine Tarantino directing Close Up and Kiarostami directing Pulp Fiction. The results are fantastic in my head.
Curious idea but I don't think I'd watch any Tarantino versions of Kiarostami films. They'd just be full of bravado and unnecessary violence. Kiarostami directing Tarantino's films, that is more interesting to be.
Hey@@FredBloggsTheThird I see your point totally. My intention behind posting the comment was to highlight the fact that both of them are such great dramatists. They can create such strong tension, Kiarostami can whip out something deeply penetrative out something mundane while QT too is capable of making seemingly normal character do extra ordinarily odd things. I love that quality about both of them. Also, QT is not always about bravado and unnecessary violence (in fact, I beg to differ - there is no unnecessary violence in QT's films). Again, I need to specifically mention this because internet has at large become a shitty place, I mean no insult and don't need you to conform to my opinion. This was just my opinion. And I see yours too. :)
Thanks so much for posting. What a great look into the mind of this master. I love his words about thinking digitally. And fascinating what he calls freedom as a director. Is the director willing to exchange status for freedom? Fundamental question. RIP Abbas Kiarostami.
- ...? ..We also need to know: where is the border between Cinema as an art and cinema as a Business. As your students just watched "Close-Up", I should tell you this film had a very strong impact on my filmmaking. I remember as I was making it I was still using a 35mm camera. But the characters and situations were evolving so freely despite the weight of the camera and the difficulty I was having. I started using the camera "digitally". My state of mind, my way of working became digital. And very gradually, I realized I was getting rid of storytelling. So the film, in a way, moved forward and left me behind. I had to catch-up with it and change my way of making films. This is the way you are forced, in a way to rethink your definition of Cinema and wonder why we make films and why we go and see films...Do we go to see stories and be touched by them? Or do we go for other reasons? - How do you define thinking "digitally"? If you want a brief, academic definition I would say the digital is freedom, freedom for the director, freedom for the actor, freedom for the audience. But "digital freedom" depends on how you perceive freedom and how you're able to or even want to use it. It also depends on how you define "Cinematic" freedom. Directors are said to be all-mighty creators, however would they renouce that to enjoy this freedom?
The audience member out-of-focus in the background - the way he sits, his nonverbal language, at one point he's either picking his teeth or biting his nails - feels and looks at home in this interview and in Kiarostami's cinema. I miss him a lot.
![บุษบา - วงชานเมือง [LiveCoverVertion] Original : เมนทอล](http://i.ytimg.com/vi/Dm81sKcd9rs/mqdefault.jpg)
best of Iran, and one of the best of the world of film..
and this interviewer,can't handle him,if it weren't for abbas!
Somewhere in his remarks Kiarostami said that he couldnt sleep for 40 days while it was subtitled as 4 days .
I love Tarantino and Kiarostami both, albeit I haven't watched all of the later's films. I wonder how they could take each other's films' stories and make them in their own style. I mean imagine Tarantino directing Close Up and Kiarostami directing Pulp Fiction. The results are fantastic in my head.
Curious idea but I don't think I'd watch any Tarantino versions of Kiarostami films. They'd just be full of bravado and unnecessary violence. Kiarostami directing Tarantino's films, that is more interesting to be.
Hey@@FredBloggsTheThird I see your point totally. My intention behind posting the comment was to highlight the fact that both of them are such great dramatists. They can create such strong tension, Kiarostami can whip out something deeply penetrative out something mundane while QT too is capable of making seemingly normal character do extra ordinarily odd things. I love that quality about both of them. Also, QT is not always about bravado and unnecessary violence (in fact, I beg to differ - there is no unnecessary violence in QT's films). Again, I need to specifically mention this because internet has at large become a shitty place, I mean no insult and don't need you to conform to my opinion. This was just my opinion. And I see yours too. :)
Thanks so much for posting. What a great look into the mind of this master. I love his words about thinking digitally. And fascinating what he calls freedom as a director. Is the director willing to exchange status for freedom? Fundamental question. RIP Abbas Kiarostami.
- ...?
..We also need to know: where is the border between Cinema as an art and cinema as a Business.
As your students just watched "Close-Up", I should tell you this film had a very strong impact on my filmmaking. I remember as I was making it I was still using a 35mm camera. But the characters and situations were evolving so freely despite the weight of the camera and the difficulty I was having. I started using the camera "digitally". My state of mind, my way of working became digital. And very gradually, I realized I was getting rid of storytelling. So the film, in a way, moved forward and left me behind. I had to catch-up with it and change my way of making films. This is the way you are forced, in a way to rethink your definition of Cinema and wonder why we make films and why we go and see films...Do we go to see stories and be touched by them? Or do we go for other reasons?
- How do you define thinking "digitally"?
If you want a brief, academic definition I would say the digital is freedom, freedom for the director, freedom for the actor, freedom for the audience. But "digital freedom" depends on how you perceive freedom and how you're able to or even want to use it. It also depends on how you define "Cinematic" freedom. Directors are said to be all-mighty creators, however would they renouce that to enjoy this freedom?
He is still one of the biggest...... Be in Peace Dearest....
عاشق کیا رستمی هستم
تشکر از شما
Thank you, my teacher.
We will miss you...
The audience member out-of-focus in the background - the way he sits, his nonverbal language, at one point he's either picking his teeth or biting his nails - feels and looks at home in this interview and in Kiarostami's cinema. I miss him a lot.
? who is him?
he@@revdckmz
Lovely kiarostami🌹
wow 👌
TRUE SENPAI.
بیا هزاربار دیگر به دنیا بیا❤
this is edited well thanks
not great
Watched it for the third time
10:37 He says forty days, not four days.
There is a jump at 12:05 why did you cut it?
❤️
Here from Savannah Arts Academy. Should definitely push to teach.
He's dead.
anyone knows the name of the translator at his side?
Massoumeh Lahidji
in chie mige akharesh? chi amazing bood?