But we see that most of the modern generation filmmakers, under the flag of giant media companies, assume it is necessary to add violence and immorality to movies for gaining the public fortune and obtaining more spectators, purchasing more tickets and reaching more profits.
What is your estimation about that? Should we bargain the human values in lieu of the financial benefits? Is it acceptable that we offer atrocity, aggression and unhealthy relations in our movies to absorb the more viewers?
I deplore mindless, meaningless, gratuitous violence, as I deplore mindless, gratuitous righteous indignation. I would hope that a film which frames violence or other controversial matter would do so in a way that is curious and reflective, as I always hope that audiences willingly bring their own curiosity and reflection to each work of art.
Too many movies employ violence for convenience; it's easier than writing! As for immorality there are so many kinds! My answer is the same. It all depends upon what is being suggested or explored in the depiction. If it is mindless, I feel that my time is being wasted, and that I'm being talked down to. I tend not to categorize what is technically permissible to show. I just want to know that it is being shown thoughtfully and with sensitivity and originality.
OK. Let's switch to Cinema Verite festival in Iran. You were in Iran to attend the second edition of Cinema Verite festival. What do you think about the quality of screened films and the professional dexterity of attending filmmakers? Which film most attracted you?
I appreciated the extraordinary range of interests and stylistic approaches, especially in a film culture I only know through the works of a few producers. It would be impossible to select a favorite, given so much variety! I recognized a strong vein of artistic passion running throughout the work. This made me want to see more!
Explain a bit about your default perceptions before traveling to the misunderstood country, Iran. How was your imagination about Iran and its people? How much you think the media propaganda was effective to shape these perceptions?
I expected that some conversations might be impossible, or that I might be viewed with hostility. I attribute this to the excesses of the international press; but in the contrary, I found a community of like-minded, hospitable, curious people, including complete strangers who approached me with great energy and kindness. I spent a woefully short amount of time in Iran, but my point of view on what is possible between us has dramatically shifted, for the better!
As with any country, one can only know very little before experiencing a place firsthand. Iran seems to me beautiful, complicated and fascinating, like my own home. It seems to me our governments have had serious differences, and I'm hopeful of a betterment of international relationships, of course.
The main goal of documentary filmmaking, of course, is to unveil the concealed facts, expose the hidden face of society to a wide range of issues and unfolding the stories that are not being offered to the public. Are you willing to produce (or participate in the production process) of a documentary film about the people and culture of Iran?
What will you do if you want to produce a film about Iran? Which references and resources do you refer to in order to gather information about the country and its people's lifestyle? Which facts and truths about Iran are being withheld from the public opinions, you think?
I'm not a producer, but Iran seems an endlessly fruitful subject. Any depiction should simply be dimensional, open, curious, exploratory, and intellectually "independent" of outside intervention, as much as possible. I'm nervous to speculate about what truths are being withheld. But certainly some visions are rarer than the others, and I support a multiplicity of visions, so that these can be sorted, compared, and weighed by a discerning public.
What are the most crucial challenges, in your view, to the cinema of 21st century? Is the global cinema moving toward an absolute satisfactory future?
Corporate control of media production and distribution, I am afraid, is having a slow suffocating effect on media culture. This is a very big topic, I don't know if a small fix will be sufficient, or if a big fix is possible. This is why the "independent" artist is such a heroic type to me. Occasionally, someone intelligent, brave and committed is able to realize and offer a vision I've never seen before; through enormous work, risk and sacrifice. How can anyone who cares about the cinema be but grateful for this?
We are living in a turbulent and chaotic world. Violence and aggression is reaching to its utmost. The industrialized countries are seeking the ways to invade and dominate the developing, impoverished nations. Every day, we hear something new about a US attack on another country. Do you believe there is any duty or assignment for the artistic community to prevent the world's path toward insurgence and insecurity?
Films that can save the world are few, if there has ever been a film. But why should films be expected to do everything? What they can do, which is not sufficient to save the world, but I do think is totally necessary, is to offer new possibilities for consciousness itself; ways of seeing, thinking and feeling that modern life tries to shut down. This is a big enough responsibility to become a filmmaker's life work
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