Mohsen Makhmalbaf Quotes

Because there is so little room for expression otherwise, a lot of people love cinema because they find it a way of expressing themselves.

Rumi, who is one of the greatest Persian poets, said that the truth was a mirror in the hands of God. It fell, and broke into pieces. Everybody took a piece of it, and they looked at it and thought they had the truth.

The question in their minds was, why did the outside world, and particularly the Western world, produce all these landmines, and send them to Afghanistan? This business must be stopped. It's a dirty business to produce such a horrible device.

From my films, you can at least learn about Iran, you can get a sense of the history and the society. But no such films have been made about Afghanistan, so you really can't know much about it.

I was in jail four and a half years. When I came out, I continued the same struggle against injustice, but instead of using weapons, I began to use art and cinema.

The Buddhas had to be destroyed by the Taliban to get the world thinking about Afghanistan.

Afghan society is very complex, and Afghanistan has a very complex culture. Part of the reason it has remained unknown is because of this complexity.

I myself had to grow a longer beard and Afghan clothes. I was in danger of being kidnapped by smugglers, though I didn't know it at the time.

When I came out, and for many years afterwards, it had become a habit for me to sit and read and read and read, like an obsession. I would take 20 books, and not come out until I'd finished them. It took me a while to change that habit.

Usually people like to categorise artists. With my films, I categorise people: if I know which one of my movies you like, I can tell which kind of a person you are.

Do you know that every day, 10 people in Afghanistan are injured by landmines? It will continue for the next 50 years, because the country has the largest number of landmines in the world.

But also, there are no films being made about Afghanistan.

There's an 800 kilometer border between Iran and Afghanistan.

When we began filming, these people had legs, but as we were filming, they had been injured and they were brought to the hospital to have their legs amputated, and that's where we found them and asked them to come and be part of the film.

I'm not playing myself. It's a symbolic situation, where I want to introduce a fascist behind the table. I couldn't have had anybody else do that; for it to be successful, I had to do it myself.

The style depends on the subject.

It was really bizarre, that Sabzian business. You know I had no interest in being photographed before this incident. But then not just Sabzian—many other people started pretending they were me! One of them actually got married while pretending he was me! My face became publicly recognizable soon after I decided to have a few photographs of me available in public to prevent these sorts of identity thefts. It is really pathetic, if you think of it. Filmmakers and filmmaking is so popular in Iran because all other forms of expression have been denied to people.

From 7 in the morning to 11 at night, I was reading. I don't think one can find any other time in one's life to be left alone so much to read in peace like that.

I wanted to be left alone to live my life, so it was very easy for people to pretend that they were me.

In many ways, it is very real, because I sat there for 9 days, and it was constantly happening, and that was the 9 days of making the film. But you can't say that it's 100% true, because there are places where I've been intrusive and interfered.

If I make two films in a year, they'll be different. This is my style - I can't have just one way.