I try to use fiction in order to reduce the potentiality of something being true. We produce our own memories so I'm not sure of truth.

I don't particularly have a good memory. I think history is many times just the text written by the victors. I wanted to counter that aspect.

I am more at peace than I've ever known myself to be. My connectedness to the world is more intense. I am more attentive to the humanity around me.

Palestine is about how we drink the water, whether we are being ecological or not. Palestine is our way of exercising our daily living. That's what's going to solve the problem of Palestine. It's also how we think of ourselves spiritually. This kind of disconnectedness is harmful to the person who is acting that way and is sometimes annoying.

The problem is that when you grow absolutely certain that all authorities are corrupt, then that would include the Palestinian authorities as well.

It's important for me to not historicize. I work to diffuse the issue of identity and to intensify identification. You have to lose your authority in the making of a film to achieve this. The film is about me being absolutely dislocated. I focus on the very personal to arrive at the very political.

A lot of narrative films leave you no space for anything else but eating popcorn. I want to go in the complete opposite direction. I have to evacuate all psychology, to be less a protagonist and more a presence.