My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.

The battle between two men over a girl is the same as the fight for two men over a piece of land. It is all about desire. There is no difference between a love triangle and the conflict between Israel and Palestine.

Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me. I use direct sound, mono not stereo. Just direct sound, so for every shot there are only two sources. Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.

Matching character and actor is what a good director does.

An actor is an instrument. One needs to control them.

The United States is such a potent political, cultural, and economic model in the evocation of the contemporary world, that to come here, select some elements from the prototype and rearrange them, that's really interesting artistically.

Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression.