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.

At the time when talk of war, intimidation, and aggression is exchanged between politicians, the name of their country, Iran, is spoken here through her glorious culture, a rich and ancient culture that has been hidden under the heavy dust of politics.

Poetry, especially traditional Iranian poetry, is very good at looking at things from a number of different angles simultaneously.

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?

It's very difficult to talk about religion in Iran because religion has gotten so mixed up with politics.

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

I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath there is a hidden theme. The result of each twist is that the judgment of the audience member is challenged.