Amir Naderi

“This is a very important film because, because anything you want to know about this country and anything you know about the young people, anything you want to know about cinema, anything you want to know about the silence and what movement and what feeling of the woman, young girls, everything in this film is a very important movie. A long movie, which is great. I wish it would be longer. Edward Yang. If you want to know about the cinema, go to Edward Yang. If you want to know what's the cinema, go to the Hou Hsiao-hsien, also worked with him in the beginning as an actor. Edward Yang is a very, very important director. Okay, I love him.”

“Dekalog. In this film, ten stories, of course. After the finish, give me some ideas. He shot it in 16 millimeter and there's a very not so much the, what is it, the camera work or this or that, because you know what, they want to show it in TV or documentarians and families see that and watch it. He don't want to show off dramatic cinematic stories, but it's loaded cinematically and very simple, like Chekhov, you know, write that story without anything big, but meaning of the life in it.”

“Look at these two. Okay. Look at these two. One of the reason I become director, because I work in cinema from six years old, you know. I went to a school late, nine years old. I never know what is school, but I work in cinema in the projection and this and clean the, you know, cinema after the people leaving. But the first time I see the one photo, Buñuel is coming, I think it's maybe early '60s or something, come to America and he's a little bit old and he's sitting here, Hitchcock here, Billy Wilder here, Robert Wise here, everybody looking to him, look like God. He's shooting these days almost maybe eight days, one week, two weeks, three weeks. He doesn't have a patience to do it more than that, and he make it miracle in the set. The people look into him, yes, they do anything he wants.”

“Nobody can do it like Bergman, nobody. He write the script, but he see the film. He's shooting, but you see the editing as a result. Black and white in this film, something always black and white have some shadow, something make you crazy. And the this three film: The Silence, one of the most modern, fresh cinema. And I want to say Winter Light, one of the most important scene in the cinema, six minutes Ingrid Thulin sit down and reading the one letter. Oh my God, oh my God, Ingrid Thulin in that scene, amazing.”

“Let me tell you about this. Of course, Kurosawa-san in Japan long time ago, one time I had a chance to talk with him long time ago. He says anytime he gets tired about life or something and he gets sick or bad feeling about the life and he gets very, what is it, loses himself, he watched one of the films from Satyajit Ray. If you like to make a film about yourself, about your life, about the people you know, about your family, about your heart, about what you lose, what you get, and no matter what, which country, which language, where, go with this.”