The jail thing is very, very present in all of my work... Sometimes not very frontally. The jail is coming from the camps, because my mother was in the camps, and she internalized that and gave it to me.

I went at 4:30 in the morning to a café 500 meters from my place. And it was another city... Totally different than where I go every day. And I said, "God, I will do that again." That's another subject I want to do. It's my street, suddenly different at 5:00 in the morning. I can shoot for one week. That's enough to make a movie.

I'm Jewish. That's all. So I am in exile all the time. Wherever we go, we are in exile. Even in Israel, we are in exile.

Have you seen the film Histoires D'Amérique? It's also a mixture of humor and monologue, and it shows how the Jewish humor comes from drama and tragedy.

What I think is dreadful about art is the way it's related to the money afterward. Not when you do it... But after that, it's like 5,000 rich people have access to it. A movie, even though it can be a bad movie or a good movie, it is more democratic. The people who buy my films, the people who buy my installations it's sometimes a foundation or a museum. When it's a foundation, it's related to very, very, very rich people - who are your enemies! Your enemies are feeding you. But you're not meeting them. So it's a very strange thing.

The jail thing is very, very present in all of my work... Sometimes not very frontally. The jail is coming from the camps, because my mother was in the camps, and she internalized that and gave it to me.

When I'm in my neighborhood, I don't see anything anymore, because I'm so used to it. When I go somewhere else, suddenly, I'm alive. I'm on alert, and I can be fresh.