FEMALE SPEAKER: Everybody
knows this woman
has been nominated for an Oscar
for her work in "House of Sand
and Fog" and the Emmy for
Best Supporting Actress
for "House of Saddam."
SHOHREH AGHDASHLOO:
House house, house.
FEMALE SPEAKER: I wasn't going
to point that out, but you did.
SHOHREH AGHDASHLOO: It carried
on for a couple of years--
house, house, house,
house lake, "Lake House,"
"House of Sand and Fog," "House
of Saddam," "Horror House."
And then I had an offer for
"Odd Life of Timothy Green,"
Disney movie, I thought,
OK, no more houses.
This one has nothing
to do with a house.
By the time I got
closer to Disney,
where I had a meeting with
this amazing producer,
I thought, I have to find
out what her name is,
because I just can't get in
and say, hi, how are you?
So I looked at my
cell phone to find out
what her name is, so when
I enter, I would say,
hello, Mrs. So-and-so.
Guess what?
Her family name was Housebrick.
Oh my god.
It had to be her family name.
It's not the name of the movie,
nor the name of the director,
but the producer's
family name, Housebrick.
So I thought, I'm still stuck
with house, which is beautiful.
Ask every immigrant,
every displaced person who
has left her home
country, has migrated,
ask them what comes first?
They all tell you, house.
Maybe that's why.
This was the universe
trying to tell me
that you have a house
with us no matter what.
Maybe.
FEMALE SPEAKER: And now you have
all of Earth in "The Expanse."
Please tell us about
how you got involved.
SHOHREH AGHDASHLOO:
So heartbeats away
from governing the world,
ladies and gentlemen.
Help me through.
Vote for me.
I promise you, I would
save Earth for you.
I would not allow Mars nor
Sirius, nor the Belters
to come and take our resources.
That's what my character,
Chrisjen Avasarala,
is afraid of, and
she has the right
to be afraid of, of Martians.
All they want is to come to
Earth and take our resources.
And we still have a lot.
We have already colonized
Mars and the solar system.
We have colonized Belters
with all due respect
to the chief of the
Belters here today.
But we're still afraid of them.
The core of the idea
of politics has not
changed, not even in 200 years,
where this TV series is set at.
So in numerous interviews
that I watched,
you talked about how
when it was nonfiction,
you would learn about the person
that you were about to portray,
and in fiction, you
would create a history.
SHOHREH AGHDASHLOO:
From scratch.
FEMALE SPEAKER: From scratch,
so for Chrisjen Avasarala,
what did you do?
SHOHREH AGHDASHLOO:
Chrisjen was really hard,
my first politician.
I had done lots of
doctors and professors.
And I still remember a
comedian friend of mine
once told me, oh,
Mrs. Aghdashloo, you
get to play all the
doctors and professors.
And I said, believe me, Antony,
I'm dying to play a maid.
He goes, a maid?
You?
You come in with
that voice of yours.
You say, Madam,
the tea is ready.
That tea must be poisoned,
or there is no reason
I'm bringing you into this!
He put an end to
my life's dream.
Thank god.
I got it.
I got it last year.
I portrayed a maid in a movie
called "Septembers of Shiraz,"
based on the Iranian
writer's book
called "Septembers of Shiraz,"
New York's best seller.
Amazing, with Adrian
Brody and Salma Hayek.
Finally, I portrayed a maid.
But a politician, it
was my first time.
And I was, again, walking,
pacing, back and forth,
thinking, how am
I going to create
this character from scratch?
I'm going to have to
start with my heroes,
with women whom I have admired
since childhood, with women
whom I have looked up
to, followed their path,
and wanted to be them or
to do what they are doing.
So all of a sudden,
Indira Gandhi came.
It was like the door opened,
and Indira came in, and I said,
oh, Indira, please do sit down.
Obviously, Indira was
followed by Benazir Bhutto,
one of my favorites ever.
I loved her so much that I was
so furious when she was killed.
I was furious with her.
Why an educated woman,
a well-read politician,
why she should poke out her
head from a limousine that
is driving 5 miles per hour,
every assassin's paradise.
Anyhow, Benazir came in,
and I'm looking at Benazir.
I'm like, although this
character is from far east,
far, far, far east, and it's
an international, universal
character, but I still need
more women, more people,
who are not necessarily
from east or far east.
And obviously the door opens,
and another favorite of mine,
Margaret Thatcher, comes in.
I loved Thatcher.
I happened to be in London when
she became a prime minister.
Her first speech
changed my life forever.
I wanted to study art
before I saw her speech.
But right after her speech,
I decided to study politics.
And I managed to do
it, and got my BA
in international relations,
political science in '84.
So Thatcher is coming.
And I know in the
UK, it's very hard.
When you say you love
Thatcher, some people
really get upset with you.
They're like how?
Why?
A woman like you?
And I said, well,
look, I was living here
at the time of Callaghan.
It was the Labour Party, and the
UK was on the verge of a nasty
breakdown.
Thatcher came.
She said it in her speech.
She said, I'm hearing rumors
that people call me Iron Lady.
I am the Iron Lady.
Tighten your belts.
We are going to change
Britain for good.
And she did.
So that's why I
love her so much.
Right after her,
Madeleine Albright,
another one of my heroes,
whom I love and adore.
Thatcher was followed by
Madeleine for a reason.
Everything is interrelated
in this world.
Both women are famous
for their broaches.
They have books
about their broaches.
That's why Madeleine
followed Thatcher,
and right after that, of course,
Secretary Clinton, Hillary
Clinton.
And I'm like, OK,
now everybody's here.
Now I can see them.
I can feel them.
It's so tangible now.
I can see the character.
Now I can start breathing
life into this character.
It was only then that I was
satisfied that I may be able.
With all those, you were
two heartbeats away.
SHOHREH AGHDASHLOO: Exactly.
They were all there,
like "Sense8."
All my other selves were there.
Have you ever watched "Sense8"?
FEMALE SPEAKER: Uh-huh.
SHOHREH AGHDASHLOO:
The Wachowskis.
It's very nice.
I love that series, "Sense8."
FEMALE SPEAKER: So
I have a question
about what led you to
decide to write your memoir?
SHOHREH AGHDASHLOO:
My American friends.
FEMALE SPEAKER: Oh, really?
SHOHREH AGHDASHLOO:
More than anything else,
my American friends.
For 20 odd something years, I
was asked so many questions,
so many odd questions about
driving camels back in Iran,
or about-- somebody
was actually like,
did you have telephones in Iran?
Like telephones?
Yes, we did have telephones.
When I was born,
we had telephones.
So I thought, I have
to educate them.
They have to know.
We owe it to them, this
beautiful vast country
who's been taking care of
us, who's been so graciously
accepting us.
So I thought, for the sake of
the people of this country,
for the sake of
the modern history,
I need to write this down.
Another fact was
that every time I
met an educated, well-read
American, elderly,
immediately, they would
say, oh, you're from Iran.
Yes, we do remember Iran,
what happened to Iran.
Mohammad Mosaddegh, the
first and last democratically
elected prime minister of Iran
who was sent to exile, CIA coup
d'etat, 1953 in Iran.
They knew every detail about
Mossadegh, this deposed
prime minister of Iran.
Young people, if I would
tell them that I was Iranian,
they would say, oh,
Ahmadinejad, Ahmadinejad.
And I just didn't want to be
identified with Ahmadinejad.
I had to do something about it,
and I thought maybe the best
thing is to write my memoir,
but do not concentrate solely
on the memoir,
because more or less,
we all have the same life.
Every one of us is a
moving film, movies.
But I can set my memoir against
the history, the modern history
of Iran that was going on while
I was in Iran during the Shah's
reign.
Now that there's such a huge gap
that Americans know Mosaddegh,
which was 52, and now they know
Ahmadinejad, which is 2008,
as though Iran did not exist
in between the two of them.
That was the first reason
that made me sit down.
And I had basically two choices.
Harper-Collins told me that I
either could write it myself,
or have a ghostwriter.
I sent the first chapter
to a ghost writer,
especially because I
was going to the UK,
to London, to
portray [INAUDIBLE]
in a play that was going to take
4 and 1/2 months of my life.
And I thought, I'm
a method actor.
I would rather not
combine works together.
But when the chapter
got back to me,
it was beautifully written,
so rich, literally speaking.
But it wasn't my voice.
It sounded non-Iranian.
It sounded American, and
it had lost my voice.
So I called back, and I
begged Harper and Collins
to allow me to write it myself.
And to cut the story short,
it took me 2 and 1/2 years
to finish it.
But I'm glad I did it.
It has an accent, but
it doesn't matter.
It has my accent.
So when you read it, you realize
that whatever I'm saying,
it's me saying it.
No one has tried to add anything
to it, or take away from it,
or interfere with it.
FEMALE SPEAKER:
So I was curious,
"The Alley of Love
and Yellow Jasmines,"
how did you come up that title?
SHOHREH AGHDASHLOO: This is one
of my favorite, favorite things
ever.
As you all know, I was on "24."
"24" is amazingly successful
all over the world.
People of the world love "24."
Marrakesh, Tunisia,
Jordan, wherever
I went, as soon as I open
my mouth, they were like,
are you the woman on "24"?
I was at the bazaar in
Marrakesh, poverty personified.
This young, 10, 12 years
old boy is following me,
and I was a bit afraid.
I noticed he's following me.
I decided to act strong.
I turned around, and I
looked at him, and I said,
what do you want?
He took a look at me, and he
said, madame, c'est artiste?
I said, yes, oui.
He goes, vingt-quatre?
"24"?
I said, what is your name?
He said, Muhammad.
I said, Muhammad, I
get you a sandwich.
I give you a coin.
Do you like coca-cola?
He goes, yes, I like coca-cola.
Don't tell anyone
I am from "24,"
or I won't be able
to leave the bazaar.
In Japan, they love it.
They love it in Japan,
and they dub it in Japan.
So I was told that not
only one or two reporters
want to interview me
for "24" from Japan,
but also there is
a dozen of them.
Therefore, they decided to
have a moderator in LA with me,
and have all these reporters
on a conference line
from all over Japan.
They asked me questions,
so many questions.
They were all women reporters.
And they asked me questions
and so many questions,
and finally one of
them said, all of this,
I would answer in English, the
moderator would translate it
into Japanese, they would ask
their questions in Japanese,
vice-versa.
So the last question was,
ask Shohreh to close her eyes
and tell us, what is it that she
misses the most about her birth
country, Iran.
And I did.
I listened to them.
I always do.
And I closed my eyes,
and the first thing
that came to my mind were these
tiny, narrow, crooked alleys
back in Iran.
Usually, old countries
do have that.
There are a lot of these
tiny, crooked alleys in Spain
as well.
I was working there
for 3 and 1/2 months
and managed to see these alleys.
In Iran, the
generation before me
I call these alleys
[SPEAKING PERSIAN],
the love alleys, or the truth
alleys, [SPEAKING PERSIAN].
And these alleys came.
In the spring, the
walls of these alleys
are filled with yellow jasmines.
And if you have smelled
yellow jasmines,
you know that its scent stays
in your nostrils forever.
So these two, the image
and then the smell, came.
And I said, well the alley
love and yellow jasmines.
That's all I can remember.
As soon as I said that,
the moderator translated
into Japanese, and then they
started talking, and talking,
and talking.
And nobody is telling
me what's going on.
And finally, I said excuse
me, excuse me, excuse me.
What is going on?
And the translator
said, ladies are
talking about yellow
jasmine, and the fact
that they don't have
yellow jasmines in Japan.
They only have white jasmines.
And I said, leave
it to the Japanese.
By now, they have put
the seeds in a box.
They're flying to Japan
to put it in the ground.
That's why the alley of love and
yellow jasmines. [INAUDIBLE].
FEMALE SPEAKER: So this is
participatory with you guys.
So think of your questions.
Start lining up, and I'm going
to ask one other question
right now.
So I expect bodies to
start getting off of seats.
So you were a tomboy?
SHOHREH AGHDASHLOO: I am still.
You can-- a tomboy, I am, yeah.
FEMALE SPEAKER: I
was a tomboy too.
But anyway, is that
common in Iran?
I mean, for girls to be
climbing trees, and--
SHOHREH AGHDASHLOO:
Not really, no.
Every time I did it,
both my grandmothers
were out looking at me
like, who is this creature?
And my grandmother was like,
you know you're a girl.
You know you cannot
go up the tree.
You know what happens.
You're a girl.
And I'm like, yes, I
am, but I can do it.
I was raised with
three brothers.
FEMALE SPEAKER: Right, OK.
SHOHREH AGHDASHLOO: And
I was the first one.
FEMALE SPEAKER: You had
to keep up with them.
SHOHREH AGHDASHLOO: I
had to keep up with them.
I had to beat them.
FEMALE SPEAKER: But you also
wanted to be an actress.
SHOHREH AGHDASHLOO:
Since I was seven years.
I started when I was
seven, and my mother
kept saying not under our roof.
Not under our roof.
It wasn't a respectable
profession or job back in Iran.
And my father was
afraid that I'm
going to join the cinema
and all of a sudden,
he's going to see me
naked, which he never
got a chance to do.
After a while, he noticed,
no, I'm a real actor.
I'm not a starlet.
I'm not there because
I love acting.
There's a huge
difference between those
who are born actors and
those who love acting.
And we have both of them.
To me, most of the
stars love acting.
They're not born actors.
They do great jobs because
they have a lot of help
from people who can teach
them, who can take them
through different paths.
But they're not born actors.
They love acting, and
they do great jobs.
But there are some
who are born actors.
I was one of them.
That's why all my life I fought.
I literally fought
to become an actor.
Because this is
what I wanted to be.
I'm so happy that I fought
for it, because now I'm
a happy person.
Every time my mother comes and
says, oh, are you happy now?
You had to go through countries.
You had to live in exile.
You had to do that.
Are you happy now?
I'm like, Mom, I've
been happy since the day
I became an actress.
I've always been happy, because
I did what I wanted to do.
FEMALE SPEAKER: Looks
like we have a question.
AUDIENCE: Yes.
Hi, love your role
on "The Expanse."
You're doing a great job.
The show has become infamous
for the zero gravity scenes.
They're difficult
and they're arduous.
And I was just wondering
if you had the foresight
to put a no zero G
clause in your contract,
or whether we're going to be
seeing you floating around
at some point.
SHOHREH AGHDASHLOO:
When I joined,
I was told that my character
is the only one who
gets to go outside and do
exterior, because I'm on Earth.
So no, they're
not taking me to--
AUDIENCE: You're not
going to go to space?
SHOHREH AGHDASHLOO: I
didn't have to sign that.
I should have signed many
papers, but I didn't.
But thank you.
FEMALE SPEAKER: Go ahead.
AUDIENCE: Oh.
I'm not sure if you can
actually answer this.
And it's somewhat of a comment.
I wanted to say that your
acting on "The Expanse"
is really spectacular, because
you bring a level of subtlety
that you don't always
see, particularly
in syndicated television.
I mean, you have a great cast.
I mean, Jared
Harris, Thomas Jane,
you have some veterans there.
But the way that you
portray your character,
I'm not quite sure if she's a
good person or a bad person,
because her motivations on
the surface for what she does
and what she said seem
good and seem pure,
but as anybody in that
position of power would be,
there's a level of ruthlessness
that is pretty high, like when
she has the Belter
strung up on the wall,
and is just letting gravity
basically take him down.
And in particular in
this last episode,
where you're sitting there
with-- I forget [INAUDIBLE]--
Elise, and on the surface,
it seems like you're there
because you're having a
moment of existential crisis.
You're just so heartbroken
over your own son,
and you have some
information about her son.
And you just want
to let her know
that you share your
share that pain,
and while you guys may
have had differences
and you're on different
sides of the fence,
you felt compelled
to tell her this.
And then she's talking to you.
And she starts
talking about, well, I
get these postcards
every couple of months.
And then you see this
look in your eye,
and that's why you're there.
You're not there to console her.
SHOHREH AGHDASHLOO: Yeah.
FEMALE SPEAKER: You
think he's onto it?
SHOHREH AGHDASHLOO: Well,
I have to thank you.
Thank you, thank you so much
for saying these things.
This was my main
problem when I started.
This is science fiction,
set 200 years from now.
Although science fiction, it
speaks for today relatively.
We're still people.
We're still dealing
with politics, problems,
transparency, which I
don't believe in politics.
And I was wondering, should I
play this woman like a human?
Because her story line is
very much shakespearean.
Those three stories that are
running along simultaneously,
like Morse and Thomas
Jane's character, Holden,
looks very film noir to me.
Him, the detective
with the fedora hat
looking for the femme fatale.
The space shuttle rightfully
has been named Space Opera,
which is fantastic.
What happens to my story?
This is truly a
Shakespearean story.
Should I play it like
a human, or should I
play it like a half
human, half futuristic?
But finally, I came to my
senses thinking, no matter
what, I was thinking from
the very beginning to now,
we changed our pashminas for
beautiful brand clothings.
We exchanged our chariots
for Range Rovers and Jaguars
and high end, expensive cars.
How much have we
gone through inside?
How much have we learned inside?
Little, in comparison,
especially with when
it comes to technology.
Therefore, we are still human.
We're still people.
We're still making mistakes.
And it's very Shakespearean.
So I had better keep her
on the humanitarian side,
rather than turning
her into an evil.
Another thing is
that every time I
portray a character, good
or bad, or St. Elizabeth
in nativity, I don't judge
them, as I don't judge people
in real life, until they
do something that I really
have to leave them behind.
I don't judge them,
because we never
know who's coming from where,
what kind of walk of life.
That's why I don't
judge my characters.
And with this one,
I decided that she
is an amazing politician.
She's shrewd because
she has to be.
She's brutal.
Name a politician who is not.
By nature, you turn into one.
And that's why I decided
to more or less emphasize
her human side over
her futuristic side.
You just solved
one of my problems.
Thank you so much for
referring to this.
Merci.
Thank you.
FEMALE SPEAKER: Go ahead.
SHOHREH AGHDASHLOO:
Our audience sees that.
AUDIENCE: Hi, I had
a other questions.
She knows what I wanted
to ask originally,
but then maybe she
would ask it if she can.
FEMALE SPEAKER: Go ahead.
SHOHREH AGHDASHLOO: Anne,
you know the question?
AUDIENCE: Yeah, but anyway, I
actually found something better
to ask you.
I mean, I'm a great fan of
your almost your whole career.
I've seen a lot of your stuff.
In this movie, you're
talking about a woman
in power position.
Thinking back, I found
that almost every kind
of political drama we've
seen, political fiction,
if there's a woman
in power, she's
almost always villainous, right?
There is almost always-- I mean,
even the real life depictions
you just listed, Benazir
Bhutto, Indira Gandhi,
I mean, Margaret
Thatcher, there is
this sense in
their public image,
there's this sense that there's
a little villainy there too.
I mean, there seems to be
this public image of if there
is a woman in power,
there is something wrong,
and maybe she's evil.
Maybe she's dark, and
there's something like that.
I was wondering especially
because of your background
in political science.
What do you think of that, and
do you think that's changing?
And how do you approach
that in your role?
SHOHREH AGHDASHLOO:
It is changing.
The role of women in
cinema is changing totally.
And it's as I've always said.
It's because of the fact that
it's changing in the society.
Look at the ladies who
are here with us today.
I think there are more than men.
We have more women
here than men.
So it's changing.
The society is changing.
So is cinema.
That is a reflection
of the society.
And you're right.
For some odd reasons, when we
bring a lead, a female lead,
into a movie or a TV series,
for some odd reasons,
she has to be a villain.
But on the other hand,
there's a fine line
between a villain and an angel.
There's a fine line.
Where is the line, and how
do you find the differences,
and where can we take
these two characters?
Brits have a saying.
They say, don't
treat me like a dog.
I'll act like a dog.
So if they treat women
in the right way,
if they give them
the key positions
in huge industrial places,
or industry, Hollywood,
the American film industry, we
see more and more female leads,
not only in TV series, but also
in films that may be villains
or may be angels.
But it all depends on how women,
how we are doing in our real
lives in real society that
could be depicted and shown
on the silver screen.
It all depends on us, and we are
doing a great job, I believe.
I mean, everywhere women
are doing their best.
Even in Saudi Arabia,
finally, finally, they
got their right to vote.
So we are at the
very beginning of it.
You won't believe how late
some countries have given
the rights to women to vote.
It's unbelievable.
So we're at the very
beginning of it,
but the equality of
genders is under way soon.
We have already gotten
there, but we still
need to talk about it, and
make other people, especially
the countries under
development, understand
the importance of women's
role in a society, that really
women and men, they're
not that much different.
They can both be helpful and
profitable to their societies.
But we need more strong
females, and you are right.
And maybe it's because
there are still
male leads who bring more people
to the theaters than females,
especially in the far east.
And this is unbelievable.
Sometimes, when people
talk about the inequality
of receiving salary
here in our industry,
some women say they
receive less than men.
I truly believe it's
not about gender.
It's not about
because we are women.
They are men.
It's because they bring more
people to thee theaters,
especially when it
goes to the far east
or the Middle
East, or east east.
It seems like
there's still actors
who bringing people to the
theaters rather than actresses.
But that will change soon.
AUDIENCE: I hope so.
Do you think-- Sorry,
for [INAUDIBLE]
but do you think there's
this kind of the thing,
that some things, the
femininity of a political power,
scares some people,
especially scares
some men who feel threatened?
I mean, your examples
that you came up,
they were strong women, but I
mean, Merkel, Angela Merkel,
wasn't on your list.
I mean, she doesn't seem to
bring some of her femininity
into her governance.
SHOHREH AGHDASHLOO: We
all try not to do that.
I mean, now I'm joining
you in this one,
because when you were
carrying a key position,
people do respect you a lot.
You don't want to mix it
up with your femininity.
You don't want people to respect
you because you're a woman.
Oh, look at you, because
you have nice hair.
On the contrary, you tuck the
hair back, try to wear suits.
Why do you think we
wear suits all the time
when we go to meetings?
Because we're trying to
say that I am like you.
I'm not different.
I'm not necessarily a woman.
I'm not proud of my
hair or my figure.
I'm here because
I'm a human being,
because I love my
profession, I love my job.
Because I'm here because I want
to talk to you about this job
and see what we can do
to make it even better.
That's why we try not
to even-- I sometimes
forget I'm a woman, especially
with this thick voice,
and especially when I call,
some people say, sir, hold on.
And I'm like, yes.
I will hold on.
I'm happy they called me a sir.
British embassy, all the time.
Every time I call to ask
for a visa for my mother,
they're like, sir,
hold the line.
I'm holding.
I'm happy they called me a sir.
So yeah.
AUDIENCE: Thank very much.
SHOHREH AGHDASHLOO: My pleasure.
AUDIENCE: So now that
you've finished your book,
you're creating
something of your own,
do you have any interest
in going behind the camera
or doing any writing
in the future?
SHOHREH AGHDASHLOO: You just
asked the best question ever.
I'm dying.
I'm dying to direct.
And I think I can do a good job.
I love acting.
I love teaching it.
As a matter of fact,
my second book,
the one after this one, which
I'm working on right now,
is purely about acting.
It's all technical.
I want to teach
youngsters who would
like to become actors
stuff that they do not
learn in colleges, not
in the universities,
not until you start working,
and you learn it by experience.
That's why I love to teach it.
I love to interact with actors.
I try to do that all the
time, every time I'm working.
And sometimes, they come to me.
They ask me, and I
try to do my best.
So I'm trying to act, to direct.
I would love, love,
love to direct.
And who knows?
Maybe I'll start with "Expanse."
I've already talked about it.
And some of them like the idea.
They were like, oh, we
should pitch it to so and so.
And I was like, go pitch it.
Go do whatever you can do.
Pitch it as soon as you can.
I'm dying to direct
one of these episodes.
Yeah?
That's what I'm hoping to do.
Working with actors.
FEMALE SPEAKER: Speaking of
tweeting, did you say tweeting?
SHOHREH AGHDASHLOO: Yes.
FEMALE SPEAKER: Yes,
so I understand--
SHOHREH AGHDASHLOO: Lots
of tweeting, Instagram.
FEMALE SPEAKER: "The
Expanse," every Tuesday night,
you guys get online.
SHOHREH AGHDASHLOO: Yes.
FEMALE SPEAKER: 10 o'clock
Eastern time and then also--
SHOHREH AGHDASHLOO: 10
o'clock Eastern time,
7:00 Pacific, right?
And we do live tweets and
Instagram, and Facebook,
and some people can't believe
it, especially Iranians.
I love them.
Somebody sent me a text message
saying, is this really you?
And I'm like, yes, it's me.
Where are you?
Caspian Sea.
I'm at the Caspian Sea.
And I was like, no
wonder you won't believe,
or you can't believe
that it's really me.
Do you want me to send a selfie?
He goes, yes please.
And I did send a selfie.
He loved it.
FEMALE SPEAKER: You guys have
really been engaging the fans
through this.
SHOHREH AGHDASHLOO:
Yes, I love them.
It's for them, because
of them that I'm here.
Sometimes, some
actors really make
me feel appalled
when they refuse
to take a picture with a fan,
or the way they dismiss them.
And I'm like, if it weren't
because of this fan,
you would have not been here.
But maybe they don't feel like
taking pictures at that moment,
and I'm being bizarre here.
But I love my fans.
FEMALE SPEAKER: So are
there any other questions?
Because on that note, we
might have you join us
at the back of the
room, where the books
are for signing and selfies.
So thank you very
much for coming.
SHOHREH AGHDASHLOO:
Let's take selfies.
I love selfie.
FEMALE SPEAKER: Thank
you very much for coming.
SHOHREH AGHDASHLOO: And thank
you very much for having me.
Merci.
And Google too, merci.
FEMALE SPEAKER: Thank you.
SHOHREH AGHDASHLOO: Thanks.
[APPLAUSE]
[MUSIC PLAYING]
