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.
The arts and inventions of each period are only its costume, and do not invigorate men.
My fear of life is necessary to me, as is my illness. Without anxiety and illness, I am a ship without a rudder. My art is grounded in reflections over being different from others. My sufferings are part of my self and my art. They are indistinguishable from me, and their destruction would destroy my art. I want to keep those sufferings
[Short Talk on Sylvia Plath] Did you see her mother on television? She said plain, burned things. She said I thought it an excellent poem but it hurt me. She did not say jungle fear. She did not say jungle hatred wild jungle weeping chop it back chop it. She said self-government she said end of the road. She did not say humming in the middle of the air what you came for chop.
Good literature can be created only with something that is different from literature.
Music is spiritual. The music business is not.
I find that when I get on stage now, I don't want to perform a lot of my songs because they don't feel like me. So I want to make songs that are timeless.
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