Good cinema is what we can believe and bad cinema is what we can't believe. What you see and believe in is very much what I'm interested in.
Interpretation
Good cinema resonates with our beliefs, while bad cinema fails to engage our trust.
In this quote, Abbas Kiarostami emphasizes the importance of authenticity and resonance in filmmaking. He suggests that for cinema to be considered good, it must portray narratives and emotions that viewers can relate to and believe in, while films that lack this quality become unconvincing and disengaging. His interest lies in exploring how cinema can reflect and shape beliefs and perceptions, thus highlighting the profound connection between storytelling and audience experience.
In practice
Using this quote in a film studies class to discuss the elements of storytelling.
Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.
When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.
From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.
Good cinema is what we can believe, and bad cinema is what we can't believe.
As film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.
Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.
When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.
It took, for me, a long time to develop this idea of what to do on the radio. But from the beginning of my time in radio, I had pretty non-traditional tasks.
Acting is the ability to live truthfully under the given imaginary circumstances
I think it's great when stories are dark and strange and weirdly personal.
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
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