her şey olmaya çalışırken hiçbir şey olamamak. hiçbir zaman bütünüyle hiçbir şey olacak cesareti de bulamamak

Noktasız

Biri gelir sorarsa
Sana beni sorarsa
Gitti der misin
Gittiğimi söyler misin
Gidiyorum ben sana
Benimle gider misin

“Pull me out
Pull me out
Can’t you stop this all from happening?
Close the doors and keep them out

Dig me out
Oh, dig me out
Couldn’t you have kept this all from happening?
Dig me out from under our house”

‘Oğuz Atay’ı ayaküstü ve o kadar az gördüm ki, onunla ilgili ancak bir tek izlenim edindim: Koskocaman bir kediye benziyordu tıpkı. Çok kocaman ve çok güzel bir kediye öyle benziyordu ki, ona elimi uzatınca ‘miyaaav’ diyeceğini sandım. Miyavlayacağı yerde ‘tanıştığımıza memnunum’ deyince şaşırıp kaldım
Dostluk çoğu zaman sessizce oturup birlikte aynı noktaya bakacak kadar cesur olmak demek. Dostluk, farklı algıları aynı sokakta yürüyüşe çıkarabilmek demek. Düşünceleri, korunaklı bir alandan açık havaya fırlatıp birlikte koşturmak demek. Gitmeyi de bilmek demek. Ve bütün bunlara, birlikte cesaret edebilmek demek. Dostluk, cesaret gerektiriyor. Bazen düşünüyoruz da, ne yollardan geçti dostluğumuz; neredeyse yaşımızla eş bir süreden söz ediyorum, dile kolay. Badireler atlattı, virajlara gaz kesmeden girdi, duvara çakıldı. Çok güldük, pek çok güldük; kahkahayı dengeleyecek kadar da ağladık. Her ne getirdiyse hayat, birlikte atlattık. Ankara’ya her dokunuşumda düşünürüm bunu. Dostluk, cesaret gerektiriyor.
Baran: [to Cumali, on the hotel rooftop] Don’t be afraid, you will just go to soil, then you will become soil, then you will walk to the body of a flower with waters. From there, you will reach the essence. A bee will get to the essence of the flower. Maybe, maybe that bee will be me.
What is love? Love is struggle, love is goodness, love is amity
Asghar Farhadi
Personal Quotes

I feel it’s important to talk about the complex issues affecting us. I think it’s insulting to an audience to make them sit and watch a film and then give them a message in one sentence.

It was in the theater that I learned how it is that you can work with actors. To give an example, I have a character in the film [A Separation (2011)] who’s supposed to be a religious woman. Once the script is finished, I didn’t find her and say ‘You’re going to be a religious character. This is what you should do’. In the few months remaining before shooting she would actually turn into a religious person. I asked her to pray promptly every day, meaning five times. I asked her to wear a chador which is the traditional long veil. I asked her not to use her personal car… to restrict her rapport with any men who were not known to her. And after a while of rehearsing this way she actually started to behave like a religious person. Don’t worry, as soon as the film is over, she turned back into her former self.

Classical tragedy was the war between good and evil. We wanted evil to be defeated and good to be victorious. But the battle in modern tragedy is between good and good. And no matter which side wins, we’ll still be heartbroken.

[on how Iran could consider submitting “A Separation” (2011), which deals with marital breakup in a Muslim family, for Oscar consideration] It’s not a discussion that’s linear - the government is this way, the people are that way. Within the government there’s diversity of thought and taste. Some among them are much more open-minded, others are very closed. Perhaps what you’re asking is, given the image that we have of the government which is so hard and full of censorship, how can you make such a film? That question would be like if you ask someone living in a desert, how is it that you can live, given the heat?

I like storytelling movies and more than that I like historical movies; and I think someday I’ll definitely make a movie about the past 50 years history.

I am useless