Harold Budd: I must say, I've been extraordinarily lucky all along the line.
Asghar Farhadi: Yes. But the taxi driver, he’s more honest.
Budd: Look, it’s very simple.
Farhadi: Everything is ambiguous. All of it.
Budd: I see how you could mean that and be right, but regionalism is from now on impossible.
•••
Farhadi: I thought that he was going to paint a door that is open to the outside, and there is a couple that is walking outside. And this came from the idea that he is actually seeing the picture, the painting, that he wanted to paint.
Budd: The whole point was that the scene that I came from involved being what was then called an avant-garde or an experimental composer—flying right in the face of the European convention of academic music at the time.
Farhadi: But now that I see the photos, it’s very interesting.
Budd: Hmmm. That was ten years ago.
Farhadi: (Smiles)
•••
Budd: We were looking for something entirely different.
Farhadi: The closest thing to us is us, ourselves.
Budd: Yes, exactly. I think that that kind of commitment is a very, very good idea.
Farhadi: How you get the information across to the audience and when you give it can have different effects. It doesn’t happen in real life. What about you?
Budd: That's rather a loaded question, isn't it?