Often times, music is used to evoke an emotion and it's become a cliche, so I don't want to do that, and actually what I do, is that emotional intensity that has developed throughout the film, I allow it to get released by having that music at the end with the credits.

I really think that people who want to think more serious have to go and watch theater. Theater is a very sterilized art form. Not as much as music, but very close to music.

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.

One must never tell a child what it is they should display acting.

The first theme that every audience can get easily everywhere in the world is the theme of judgment. You are constantly judging if this character is doing something wrong or right, or the other character is doing something right or wrong.

It was important to me to make a film where I don't show the past but where the spectators can see the past.

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.