If I Do Continue To Have The

Those Same People, When They Leave The Theater, When They Look Behind The Curtains They Are Curious About Their Neighbors, They Can Guess If Their Neighbors Are Siblings Or A Couple, How Old They Are, What Their Occupation Is. They Are Curious About Each Other And They Can Understand Each Other Without Being Fed Information. Why Should It Be Different In Cinema?

The [iranian] Government Grapples With More Important Issues And We Can Maybe Say That These Films Don't Really Exist For Them. It's Not About Whether They Like It Or Don't; It's Just Not Very Important To Them.

What I Am Trying To Say Is That It Is Not Without Any Value. The Value Of Copies Is That They Can Direct Us Towards The Original. I Was Recently At The Louvre Museum And I Was Filming People Who Were Viewing The Mona Lisa. I Noticed The Number Of Ordinary People, Astonished, Mouths Agape, Standing Still For Long Stretches Looking At The Work, And I Wondered, "where Does This Come From? Are These People All Art Connoisseurs?" They Are Like Me; Through The Years, We've Seen This Work In Our Schoolbooks Or Art History Books, But When We Stand Before The Original, We Hold Our Breath.

I Think It Was [jean-luc] Godard Who Said That Life Is Nothing But A Bad Copy Of Film, But Then Our Ambition Must Be To Make Better Films And Better Shapes Of Forms That Are Given In Life.

In Real Life, When Someone's Partner Calls Them, They Can Tell From The First Word Their Partner Says What Their Mood Is.