The Fact Is I'm Not

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.

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.

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 Always Feel That A Viewer Has An Expectation About Every Moment Of The Film And Where It's Going, So If I Act Against That, I've Created A Twist. In Fact It Becomes A Kind Of Game With The Expectations Of The Viewer. This Is The Superficial Appearance. In The Layer Beneath There Is A Hidden Theme. The Result Of Each Twist Is That The Judgment Of The Audience Member Is Challenged.

In My Opinion When You Speak About Relationships Between People, You Are Actually Talking About Everything In Their World Because Everything Is Contained In That Relationship.