The landscape is a reflection of the inner life. Since I can't shoot the inner life, all I can shoot is the exterior but I know that when I'm filming outside, I'm filming inside. I can only really touch the inside through the mise-en-scene. So through the mise-en-scene of the outside we can explore the inside

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 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.

Sex becomes violent when you eliminate all the sentiments... voila, it gets crude.

I like the idea of challenging Hollywood on its own turf. It's important to do that.

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.

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.