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 think it's insulting to an audience to make them sit and watch a film and then give them a message in one sentence.
Interpretation
The quote expresses the belief that film should engage the audience deeply rather than simply delivering a straightforward message.
Asghar Farhadi emphasizes that a well-crafted film should provoke thought and foster an emotional journey for the audience, rather than spoon-feeding them a simplistic message at the end. He believes that the audience deserves to experience the film's complexities and themes through storytelling and artistry, rather than having everything laid out plainly in a single sentence.
In practice
Discussing the depth of a film during a film critique workshop.
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 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.
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.
Painting something that defies the law of the land is good. Painting something that defies the law of the land and the law of gravity at the same time is ideal.
Rhythm is sound in motion. It is related to the pulse, the heartbeat, the way we breathe. It rises and falls. It takes us into ourselves; it takes us out of ourselves.
And I think that after nearly 85 years upon this planet that I have a right after working so hard at showing the desolation and the poverty, to show something beautiful for somebody as well.
Recounting the strange is like telling one's dreams: one can communicate the events of a dream, but not the emotional content, the way that a dream can colour one's entire day.
The earth doesn’t care where death occurs. ...It’s the artist, by coming in and writing about it or painting it or taking a photograph of it, that makes the earth powerful and creates death’s memory. Because the land will not remember by itself, but the artist will.
Every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dali, and I ask myself, wonderstruck, what prodigious thing will he do today, this Salvador Dali.
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