I was in jail four and a half years. When I came out, I continued the same struggle against injustice, but instead of using weapons, I began to use art and cinema.

In Afghanistan, this is the problem, because everybody holds a piece of that mirror, and they all look at it and claim that they hold the entire truth.

Because there is so little room for expression otherwise, a lot of people love cinema because they find it a way of expressing themselves.

There's an 800 kilometer border between Iran and Afghanistan.

From my films, you can at least learn about Iran, you can get a sense of the history and the society. But no such films have been made about Afghanistan, so you really can't know much about it.

I myself had to grow a longer beard and Afghan clothes. I was in danger of being kidnapped by smugglers, though I didn't know it at the time.

The question in their minds was, why did the outside world, and particularly the Western world, produce all these landmines, and send them to Afghanistan? This business must be stopped. It's a dirty business to produce such a horrible device.

In many ways, it is very real, because I sat there for 9 days, and it was constantly happening, and that was the 9 days of making the film. But you can't say that it's 100% true, because there are places where I've been intrusive and interfered.

I'm not playing myself. It's a symbolic situation, where I want to introduce a fascist behind the table. I couldn't have had anybody else do that; for it to be successful, I had to do it myself.

When we began filming, these people had legs, but as we were filming, they had been injured and they were brought to the hospital to have their legs amputated, and that's where we found them and asked them to come and be part of the film.

From 7 in the morning to 11 at night, I was reading. I don't think one can find any other time in one's life to be left alone so much to read in peace like that.

Rumi, who is one of the greatest Persian poets, said that the truth was a mirror in the hands of God. It fell, and broke into pieces. Everybody took a piece of it, and they looked at it and thought they had the truth.

I've heard about brothers making films, but I've never heard about whole families making films like this. We didn't intend to do it; it wasn't something that we planned - it just gradually happened.

If I make two films in a year, they'll be different. This is my style - I can't have just one way.

I wanted to be left alone to live my life, so it was very easy for people to pretend that they were me.

Afghan society is very complex, and Afghanistan has a very complex culture. Part of the reason it has remained unknown is because of this complexity.

But also, there are no films being made about Afghanistan.

Usually people like to categorise artists. With my films, I categorise people: if I know which one of my movies you like, I can tell which kind of a person you are.

When I came out, and for many years afterwards, it had become a habit for me to sit and read and read and read, like an obsession. I would take 20 books, and not come out until I'd finished them. It took me a while to change that habit.

The Buddhas had to be destroyed by the Taliban to get the world thinking about Afghanistan.

A problem was the lack of cooperation of the Afghan community itself. The women, though living in Iran, were under cover and not willing to participate in the film, and none of the ethnic groups were willing to work together or be together.

The style depends on the subject.

I was in jail four and a half years. When I came out, I continued the same struggle against injustice, but instead of using weapons, I began to use art and cinema.

Do you know that every day, 10 people in Afghanistan are injured by landmines? It will continue for the next 50 years, because the country has the largest number of landmines in the world.

Five years ago, Samira did not want to continue in the regular school system in Iran. To help her with her education, I set up a home school. It wasn't just for my family, it was open to other friends.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.