I think that whatever we express in terms of the potential truth is above all else about mobilizing ourselves for ourselves. We learn about ourselves as individuals. Identification with Palestine is universal and not restricted to geographic boundaries. It's a question of moral and ethical positions vis-à-vis all the injustices that surround us.

I don't think you can strategize to be poetic and neither can you strategize to be funny. It is not a tool, it is itself - it comes from the moment, from the character, from the background, from the streets.

It's crucial to choose your work place - some places lend themselves to you and others don't.

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.

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.

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.