I chose the actors that I was in love with. I cannot work with people that I don't personally like a lot. They can be the best actor in the world, but if the first contact is not good, if I don't fall in love with them, then I don't want to work with them. It's impossible.

I call Iran home because no matter how long I live in France, and despite the fact that I feel also French after all these years, to me the word 'home' has only one meaning: Iran. I suppose it's that way for everyone: Home is the place where one is born and raised.

If you have a little sensibility or a heart, you have all the reason to be depressed once in a while. But the depression is like a motor for creation. I need a little bit of depression, a bit of acid in my stomach, to be able to create. When I'm happy, I just want to dance.

Words also are filters. They have to be translated. Even in the original language, there is interpretation and some ambiguity. If there's a cultural difference between the writer and the reader, that might come out in words. But with pictures, there's more efficiency.

I had this fantasy that in a democracy the government was the population. So I came to America and got a big slap in my face... Americans were not what I thought. I thought I was going to see bastards and I saw nice people, very friendly to me.

It's true that, in Iran, women have half of the rights men do. And yet 66 per cent of students are women.

The most natural thing for us is drawing. The characters [in Persepolis] are hand drawn. We're not technical people. We don't know how to type.