My car's my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We're in the most comfortable seats because we're not facing each other, but sitting side by side. We don't look at each other, but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult. Nobody serves anybody. And many other aspects. One most important thing is that it transports us from one place to another.

Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.

Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.

I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.

The one-word cinema wasn't possible for me anymore. I'd hit a wall, a dead end. Therefore I thought I'd turn back.

I'm still very grateful to digital cameras in general, but I didn't have this feeling with the RED one.

In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.