I'm not a politician. I don't know how to solve the problems of the world. But as an artist, I have one duty: to ask questions.

All big changes of the world come from words.

I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.

There are things that I love in Iranian cinema and things that I don't. In Iranian cinema, you have to use metaphor because you are living under a dictatorship.

That's the story of life - when you start enjoying people, it's always too late.

The things that I do today are the things I did as a child. When I was a child, either I was drawing or I was taking all the kids off my street and I wanted to make shows - I was all the time making! The only thing is, now I know how to do it better, and now they give me money for it.

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.