It's a false illusion that we wake up thinking of who we are in terms of identity and that we are stuck in the boundaries of who we are nationalistically.

People in power tend to find poetry dangerous to them because it is dislocating, they can't catch it, can't control it. They prefer coherence, what's blunt and has clarity.

I'm not in the business of saying just one thing about just one place. If you only see Palestine in my films, then I've failed because then I'm just a provincial filmmaker.

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 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.

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.

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