When I talked with Marjane Satrapi on December 12, 2007, the national news was full of the latest example of gun violence in the United States. Before getting down to talking about PERSEPOLIS, based on her autobiographical graphic novel of the same name, she asked me why the pundits were talking about the shooter’s psychology instead of asking where he got the guns. It’s the perfect example of how Satrapi looks at the world, asking questions others don’t. During our conversation about her experiences making the film version of her life in and out of revolutionary Iran, she questioned the conservative cultural bent she sees in popular films, the most effective way to forgive, and why black-and-white is so effective in telling a cinematic story.
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