I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.

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.

I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all.

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

My car is 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.

Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.

I think the contrast between these two in the professional world of cinema mattered to me. One who has reached the ultimate point of being a star, who knows how to do everything very well, facing another person who would throughout the making of the film transfer his anxiety to both of us, to me and to Juliette, as to whether or not he would be capable of fulfilling his role. This in itself created a challenge that was actually very good for me, since I hadn't ever counterposed two such performers before, creating that challenge between someone who knows their part and someone who doesn't.