"Ali Aqa" began as a documentary about pigeons and evolved into a film focusing on the title subject. How did the demands of the project change?
You worked as your own cameraperson on "Ali Aqa," which allowed for an intimacy with Ali and his family. However, you have also worked with slightly larger crews. Which do you prefer?
"None of Your Business" departs from "I Am Negahdar Jamali… ," "Dingomaro" and "Ali Aqa" in that it’s about a man who is now dead. It’s much less of a straightforward documentary than those films are. Were there other reasons why you thought Ebrahim Monsefi’s story called for a departure in your style and approach?