If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.

Death, torture and prison are part of daily life for the youth of Iran. They are not like us, my friends and I at their age; they are not scared. They are not what we were. They hold hands and scream: “Don’t be afraid! Don’t be afraid! We are together!” They understand that no one will give them their rights; they must go get them.

The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.

When you make a book or you make a movie, it is almost like hitting on somebody. It's not because you want to seduce people that you will seduce them; you can hit on somebody and it doesn't work. But when you hit on them and it works, then it's really cool.

The information I have about Iran is second hand.

To speak behind others' backs is the ventilator of the heart.

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.