Silence can be intimidating, sometimes provocative, sometimes a form of resistance because it dislocates.

Living more intensely, more lovingly, with more camaraderie, that is in itself resistance.

I don't want what you see on the screen to just be a brief notion of pleasure but something that lingers. The idea is to have the images revisited. I want it to be something that also enhances the soul. I want the moment of pleasure to produce an attachment.

Someone like myself is not from one place. I am in total identification with the New York, French, and Palestine experience and do not stop at the borders of identity.

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.

The desire to express in an art form and to compose a tableau and vignette whether it's humorous, burlesque, or poetic comes simply from a desire to compose an image for cinema. It is not my fault that when I go to Ramallah there is a checkpoint and therefore it enters my film. Tell me a way to avoid that politicized image. The fact is that the police are everywhere, the army everywhere and occupation is total. Whether it's a love story or a thriller, you place the camera and these realities will cross the frame.

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.