Whenever I write a part, I think there's this person somewhere in the world that this part is specifically for and all I have to do is go searching to find that particular individual.

I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.

I always thought that in the countries that the modernity kicks in later, it seems that everything changes on the surface, the physical things change, but inside, things haven't changed, really. This is always the challenge of this kind of community, to make a harmony between the cultural traditions and the modernity of modern life.

There are those who simply want to live their lives, and feel they cannot live the way they want to in Iran. Others are ideologically motivated: They will stay no matter what and try to change things.

Whenever I write a part, I think there's this person somewhere in the world that this part is specifically for and all I have to do is go searching to find that particular individual.

Working with children is very different than the way in which I work with adults. I never tell the children the actual truth of the thing that I want them to act. Although children are really into play and play acting, and this is a major part of their existence, they never actually find the playing or acting of adults credible.

Classical tragedy was the war between good and evil. We wanted evil to be defeated and good to be victorious. But the battle in modern tragedy is between good and good. And no matter which side wins, we'll still be heartbroken.