The day we run out of petrol is the day Iran will be free.

I have no advice for anyone on how to live.

What I am trying to say is that it is not without any value. The value of copies is that they can direct us towards the original. I was recently at the Louvre Museum and I was filming people who were viewing the Mona Lisa. I noticed the number of ordinary people, astonished, mouths agape, standing still for long stretches looking at the work, and I wondered, "Where does this come from? Are these people all art connoisseurs?" They are like me; through the years, we've seen this work in our schoolbooks or art history books, but when we stand before the original, we hold our breath.

As soon as people enter a theater they must become moron consumers who must be fed information.

As film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.

I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.

It seems that film-makers are being divided between those working in digital and those who are not. I think it's not something predetermined - it all depends on what project we have in mind, and on that basis we choose the medium.