If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
Asghar FarhadiRead
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
Interpretation
The quote discusses the interplay between a filmmaker's narrative choices and viewer expectations, emphasizing the depth beneath surface storytelling.
Asghar Farhadi highlights the importance of audience expectations in filmmaking, suggesting that by subverting these expectations, filmmakers can create engaging twists that keep viewers intrigued. He also implies that great storytelling operates on multiple levels, where deeper themes can be hidden beneath the apparent narrative, inviting audiences to explore beyond the superficial plot.
In practice
During a film discussion, one might say this quote to emphasize the complexity of storytelling.
If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.
It's been interesting to see how similar audiences in the East and West are, actually, and how it makes you realize that when politicians emphasize the differences between our cultures, it's usually because it benefits them more so than us.
I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.
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.
You must know that Iran has a great number of productions. Many films are released. Most of them, like in the rest of the world, are commercial and shallow films. These are the most popular ones. And there are a few ones that actually develop more profound and thoughtful aspects of life. Only some of these films travel out of Iran.
I developed a passion for the Middle Ages the same way some people develop a passion for coconuts.
I don't think writers choose the genre, the genre chooses us. I wrote out of the wish to create order out of disorder, the liking of a pattern.
I'm creating an imaginary — it's always imaginary — world in which I would like to live.
Nothing I force myself to write about ever turns out well, and so I've learned to wait for the voice, the incident, the image that reverberates.
When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.
I have a great body, I really do. But I want to be taken seriously as an artist, and wearing anything that shows it off will be a distraction from the music. That's how my signature uniform, my tuxedo, came about. It's classic and timeless. You'll see me in black, white, and a pop of color on my lips. That pop adds a little magic.
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