Kiarostami appeared to have settled on his style when he made the "Koker trilogy". Nevertheless, he continued experimenting with new modes of filming, using different directorial methods. Much of "Ten", for example, was filmed in a moving automobile without Kiarostami present. He gave suggestions to the actors about what to do, and a camera placed on the dashboard then filmed them while they drove around Tehran. The camera was allowed to roll, capturing the faces of the people during their daily routine, using a series of extreme close-up shots.