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'During the debates after the screenings of TEN, some people said to me that they had been used to seeing in my films landscapes and countryside, so they expected to see landscapes
and countryside.
Actually, each film requires its own location. TEN had to be shot in such a confined space.
But there is another reality: when audiences are tired of urban life and the constraintsof the
city (the traffic, living in an apartment, and so on) and they go to the cinema, they want to see
a different space, a film which is closer to their inner nature. I quite understand that and can
empathize with them.
For this reason, to make allowances for it a bit, out of compassion for this audience, I decided to put my camera in this place and to start 10 on TEN here. This space is that of Taste of Cherry.
This tree is the one in Taste of Cherry. And it is the same ditch, which is now filled in, seven years later. It is the same setting, the same winding dirt tracks as in Taste of Cherry. As you can see, the city is Tehran. And these cars you see in the picture, I imagine that they follow on from TEN or other TENs which carry on; and unfortunately I am no longer lucky enough to be there and record what is going on there...
In any case, despite the apparently great differences between TEN and Taste of Cherry, you can also find things in common.
Apparently, TEN talks about women and their problems whilst Taste of Cherry deals with a man's inner, abstract life.
But they do have something in common which seems to me to be the question of Existence, which goes beyond the problem of relations between men and women and beyond the problem of children or socio-political and geographic problems.
But being present here to start 10 on TEN is also another reason or pretext for me. It is here that for the first time in 1996 I used a video camera with which I completed the last chapter of Taste of Cherry. It is one of the reasons for my presence here, and there is another reason, too which is more important and more personal: I may no longer have any sufficiently convincing reason to bring my camera here in this space which is so close to my heart...'
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