It's very true that non-actors feel more comfortable in front of a digital camera, without the lights and the large crowd around them, and we arrive at much more intimate moments with them.

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

If you are a businessman or a politician in Iran, you can get a visa as quickly as you ask for it.

I think I'm no different to my friends who are doctors or businessmen or architects - we all started watching films of the golden age together. But whether I'm making films or writing poetry or doing photography, it's very much rooted in my sense of unease. And that's really where everything goes back to.

Good cinema is what we can believe and bad cinema is what we can't believe. What you see and believe in is very much what I'm interested in.

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 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.