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.
A thimbleful of red is redder than a bucketful.
I dreamed of Crusades, voyages of discovery that nobody had heard of, republics without histories, religious wars stamped out, revolutions in morals, movements of races and continents; I used to believe in every kind of magic. I began it as an investigation. I turned silences and nights into words. What was unutterable, I wrote down. I made the whirling world stand still.
I want my little corner of the world where I get to make games where you're not trying to win or lose; you're not trying to get a higher score - you are having unbelievable amounts of fun as you learn about yourself and the world. That's what games can do!
I write essays to clear my mind. I write fiction to open my heart.
The purpose of Art is to create enthusiasm.
You really, really, really have to love what you are going to do in theater because it is an unmerciful life. It's six days a week. It's eight performances a week. And that's doing the exact same thing over and over and over again.
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