In my experience as a director, I think there is obviously something of the way men - maybe that's a common point with Shirin - the way men see women in the film, and the way these two characters see each other.

In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.

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

I remember when I came out of an exam thinking I had done well and then I had a clue that maybe one answer was wrong, I remembered that I rather stop knowing, stop thinking about it, appreciating life instead. So first, it was just a memory. But then I realized that in life, it's a much more general sentiment - that instead of waiting for other people's judgment, I'd rather focus on my own feelings, that everything is fine. To go on with my life rather than anticipating other people's judgements that might be negative.

The experience of life teaches us that being like someone in love is more real, because everything is uncertain.

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

I never intended to write poems, nor to be a photographer, nor to be a film-maker. I just took many, many pictures and I would put them in an album, and then some years later I decided to show them and suddenly I was called a photographer. Same thing with my poetry. They're notes that I'd written in a book and it may be considered poetry.