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.

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.

When we talk about self-confrontations, we are speaking about moral issues rather than social issues.

Is there one specific source that determines correct morality and everybody should follow that? Or should individuals come up with following that source or not depending on their situation?

Iranian filmmakers are not passive. They fight whenever they can, as creative expression means a lot to them. The restrictions and censorship in Iran are a bit like the British weather: one day it's sunny, the next day it's raining. You just have to hope you walk out into the sunshine.

The bigger confrontation is the one an individual has with itself.

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.