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.

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.

But I found a lot of artists at the Cedar Bar were difficult for me to talk to.

Journeys, like artists, are born and not made. A thousand differing circumstances contribute to them, few of them willed or determined by the will-whatever we may think.

I got to sit down with people who I admired, and have conversations with some of the greatest thinkers and artists and performers. It's a huge privilege for me to be a journalist.

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

David Cronenberg knows what we actors do as artists.

The truth is, we haven't really figured out yet how artists are going to thrive in modern mass societies. We're all experiments.

Many of the artists who have represented Negro life have seen only the comic, ludicrous side of it, and have lacked sympathy with and appreciation for the warm big heart that dwells within such a rough exterior.

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

The number of contemporary artists who appeal to me is infinitesimal.

I have to plead basic ignorance of most new jazz artists here.

Music is art, art is life, and we are who we are, and all of these aforementioned women, unless they should choose not to, will be performing well into the next many decades because they are great artists.

Because when the film was first mooted, the Beatles didn't like the idea at all. In fact they wouldn't have any part in it. And when Brian had committed them, it was part of a deal he did with United Artists, I think.

Artists are like everybody else.

When artists make art, they shouldn't question whether it is permissible to do one thing or another.

My proudest achievement has been the success of the shows and artists I have been involved with, because they were made in Britain.

The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all.

I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.

Music is more emotional than prose, more revolutionary than poetry. I'm not saying I've got the answers, just a of questions that I don't hear other artists asking.

Lesser artists borrow, great artists steal.

I've never understood why artists, who so often condescend to the cliches of their own culture, are so eager to embrace the cliches of cultures they know nothing about.

I want to run for the Senate from Tennessee. Not now, but when I'm 50, when music dies down a little bit. I know lots of artists and actors have those delusions of grandeur, but ever since I was a kid, it's been of interest to me.

Let's look at people as artists and try to support them; just because Picasso painted a couple of bad paintings, that's no reason to say he's a lousy painter.

Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.

Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike.