It is a very important film, Life And Nothing More, in that what was filmed was inspired by a journey I had made just three days after an earthquake. And I speak not only of the film itself but also of the experience of being in that place, where only three days before 50,000 people had died.

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.

We don't look at each other [in the car], but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult.

A work of art doesn't exist outside the perception of the audience.

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.

A movie is about human beings, about humanity.

My way of expression is full of complications and mystery because that's my perception of life.