I think that if you're a digital thinker, you can use a digital camera.

If we're not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas - I have no problem with 35mm.

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.

The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.

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

The starting point and the ending point are nothing but two arbitrary choices. You make them as in soccer games, where they chose that it's 90 minutes, not less and not more. But the choices are the responsibility of the filmmaker. You have to choose to join the story at an arbitrary point, and you leave it at an arbitrary point.

This concept that you refer to in Buddhism is something I've been nurtured with through the history of my country for 700, 800 years - Persian poets and philosophers haven't said anything different with regard to experiencing life in the moment, as opposed to the belief of permanence.