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

Each person makes their own choice, but my spirit is meant to stay in Iran, especially with the work that I do, and with the emotional connection I have with the country - with all its difficulties, this is why I stay.

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.

I'm always careful about the thing I'm writing to make sure a viewer can imagine it happening to themselves.

I prefer to stay in my country. But this doesn't mean if someone does want to leave Iran, I think they've done something wrong - the desire to leave is completely understandable.

Because I write the screenplay entirely and precisely, there is the danger that an actor might feel that this finite role is being imposed on them. I want the actors to feel that this is their own role, and that they can go back to point zero and develop this character.

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