I don't think there should be a Palestinian state because I don't believe in states.

To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.

There are a lot of questions that come out of the silence. It is so close to the infinite.

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.

I'm trying to use Palestine as a microcosm of the world, but maybe the world is a microcosm of Palestine. We're living in a moment that has lost attachment to the ideology behind boundaries.

The Time that Remains is a way of interpreting a certain ambience or emotion. These are the stories that my father told me over the course of fifteen or twenty years. I used to listen to him. From the cowardly part of my character, I'm always in fear of not telling the right story. I'm not interested in making epics.

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.