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Close-Up (1990) Director: Abbas Kiarostami "Life is impossible without dreams, and thanks to the cinema I can give shape to some of mine and let others share them. A link with other people is made through my dreams." --- Abbas Kiarostami

DepressedBergman

245,386 subscribers

177,110 Aufrufe • vor 3 Jahren •via X (Twitter)

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4 Kommentare

Profilbild von Amir Akbarshahi

Amir Akbarshahivor 3 Jahren

This music wasn't supposed to be on this sequence . because Kiarostami didn't like conversation type from Makhmalbaf with Sabzian

Profilbild von John B. Clapzucker

John B. Clapzuckervor 3 Jahren

Didn't see the movie, but the music is phenominal.

Profilbild von Ákshay

Ákshayvor 3 Jahren

🐐🐐

Profilbild von 🫦🥂

🫦🥂vor 3 Jahren

I reCeiveD FloweRs ToDayyyyY🩷✨️🥂!!!

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Abbas Kiarostami on how he developed his scripts & on his directing style: "I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality. When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life. It's a long process, it may take six months. I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of that person. Therefore when we start shooting I don't have rehearsals with them at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them. There's a Rumi poem that helps to explains this - it goes something like this: You are like the ball subject to my polo stick; I set you in motion, but once you're off and running, I am the one in pursuit. Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation. This kind of directing, I think, is very similar to being a football coach. You prepare your players and place them in the right places, but once the game is on, there's nothing much you can do - you can smoke a cigarette or get nervous, but you can't do much. Directors don't always create, they can also destroy with too many demands. Using non-actors has its own rules and really requires that you allow them to do their own thing." ("Abbas Kiarostami", Guardian interviews at the BFI, The Guardian, 2005) P.S: Remembering the great Iranian filmmaker Abbas Kiarostami on his 86th birthday! Clip from: And Life Goes On (1992) Director: Abbas Kiarostami

Abbas Kiarostami on how he developed his scripts & on his directing style: "I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality. When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life. It's a long process, it may take six months. I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of that person. Therefore when we start shooting I don't have rehearsals with them at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them. There's a Rumi poem that helps to explains this - it goes something like this: You are like the ball subject to my polo stick; I set you in motion, but once you're off and running, I am the one in pursuit. Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation. This kind of directing, I think, is very similar to being a football coach. You prepare your players and place them in the right places, but once the game is on, there's nothing much you can do - you can smoke a cigarette or get nervous, but you can't do much. Directors don't always create, they can also destroy with too many demands. Using non-actors has its own rules and really requires that you allow them to do their own thing." ("Abbas Kiarostami", Guardian interviews at the BFI, The Guardian, 2005) P.S: Remembering the great Iranian filmmaker Abbas Kiarostami on his 86th birthday! Clip from: And Life Goes On (1992) Director: Abbas Kiarostami

DepressedBergman

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Tom Cruise reveals why he stopped sharing his dreams "I just had dreams and I would write these goals down and I didn't share them with people" "I remember as a kid I told people what I wanted to do and then it was just somehow kind of too much for some people" "They're like you know, what are you talking about kid?" "And so I stop telling people and now kind of over the years you just kind of reflect on what those decisions were and what the dreams were" "And just kind of I wanted to be here for the rest of my life and make movies"

Tom Cruise reveals why he stopped sharing his dreams "I just had dreams and I would write these goals down and I didn't share them with people" "I remember as a kid I told people what I wanted to do and then it was just somehow kind of too much for some people" "They're like you know, what are you talking about kid?" "And so I stop telling people and now kind of over the years you just kind of reflect on what those decisions were and what the dreams were" "And just kind of I wanted to be here for the rest of my life and make movies"

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I often get asked for my advice to young people. It is simple – have big dreams and respect others on the way to achieving them. Bloomberg TV Francine Lacqua #WEF24

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#DreamsPC Dreams is one of a kind. The most impressive and poweful creative tool I've ever used.. Even after more than 20 years of working as a professional artist with experience with most industry standard tools. It's incredible on a technical level, and the UX is next level. When I sculpt and work in Dreams, it's 100% creative flow-state. The Dreams community is full of talented creators, and all in all just a wonderful, inspiring crowd. Dreams has changed my creative life, both in my professional work and in my personal artwork. Here's a small selection of some of the personal artwork I made using Dreams. All made on a gaming console with two move controllers. This is #ThePowerofDreams Sony PlayStation PlayStationUK Media Molecule

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Akira Kurosawa on how Fyodor Dostoevsky was an inspiration for making "Dreams" (1990): "The impetus for 'Dreams' (1990) was a passage in a novel by Dostoyevsky, where he talks about dreams and the fact that they express our deepest fears and greatest hopes, and that this expression takes a shape which is something quite marvelous and unexpected and unimaginable in daily life. So I wrote down on paper a dream from my childhood, and this developed into a “collaboration” with other vivid dreams from various stages of my life. Any description of dreams in mere words cannot capture their expressive power at all: this was the reason I made the film. But to give you an example of the surprise effects that dreams create, the sequence of the dead regiment marching through the tunnel [the fourth dream], which would be completely uninteresting to read about on paper, has in it a dog. And this dog actually represents—this is what I realized upon waking from this particular dream—the dog represents my fear of militarism, because it’s a German shepherd, the type of dog that is used in wartime, and it carries a kind of saddlebag on its back which contains a number of hand grenades. The sound of this dog and its physical appearance were absolutely terrifying to me in my dream. So this is one of the types of things I marvel at, that my fear of militarism, due to the suffering I endured when Japan was under the rule of a militaristic government, takes the form of a dog." (Akira Kurosawa's interview with Fred Marshall, 1993) P.S: On this day, 36 years ago, "Dreams" (1990) premiered at the Cannes Film Festival, France.

Akira Kurosawa on how Fyodor Dostoevsky was an inspiration for making "Dreams" (1990): "The impetus for 'Dreams' (1990) was a passage in a novel by Dostoyevsky, where he talks about dreams and the fact that they express our deepest fears and greatest hopes, and that this expression takes a shape which is something quite marvelous and unexpected and unimaginable in daily life. So I wrote down on paper a dream from my childhood, and this developed into a “collaboration” with other vivid dreams from various stages of my life. Any description of dreams in mere words cannot capture their expressive power at all: this was the reason I made the film. But to give you an example of the surprise effects that dreams create, the sequence of the dead regiment marching through the tunnel [the fourth dream], which would be completely uninteresting to read about on paper, has in it a dog. And this dog actually represents—this is what I realized upon waking from this particular dream—the dog represents my fear of militarism, because it’s a German shepherd, the type of dog that is used in wartime, and it carries a kind of saddlebag on its back which contains a number of hand grenades. The sound of this dog and its physical appearance were absolutely terrifying to me in my dream. So this is one of the types of things I marvel at, that my fear of militarism, due to the suffering I endured when Japan was under the rule of a militaristic government, takes the form of a dog." (Akira Kurosawa's interview with Fred Marshall, 1993) P.S: On this day, 36 years ago, "Dreams" (1990) premiered at the Cannes Film Festival, France.

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Abbas Kiarostami on the theme of "Taste of Cherry" (1997) & the controversy he had with the Iranian censors: "Kiarostami: Different viewers have different opinions about that movie. Committing su!c!de is forbidden in Islam, of course, and is not even spoken of. But some religious people have liked the film because they felt that, just as you said, it shows a quest to connect with something more heavenly, something above physical life. The scene at the end, where you see cherry blossoms and beautiful things, has that message—that he has opened the door to heaven. It wasn’t a hellish thing he did, it was a heavenly transition. Interviewer: Did 'Taste of Cherry' run into difficulties with the censors because of its subject? Kiarostami: There was controversy about the movie, but after I talked with the authorities, they accepted the fact that this is not a movie about su!c!de—it’s about the choice we have in life, to end it whenever we want. We have a door we can open at any time, but we choose to stay, and the fact that we have this choice is, I think, God’s kindness. God is kind because he has given us this choice. They were satisfied with that explanation. A sentence from [a Romanian philosopher - Emil Cioran] helped me a lot: “Without the possibility of su!c!de, I would have k*!!ed myself long ago.” The movie is about the possibility of living, and how we have the choice to live. Life isn’t forced on us. That’s the main theme of the movie." (Abbas Kiarostami's interview with David Sterritt, Film Comment, 2000) P.S: On this day, 29 years ago, "Taste of Cherry" (1997) premiered at the Cannes Film Festival, France.

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