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 do not teach history in my films. I don't have a linear point of view or argument. What I do in my films is to live the human experience; human, whether in Nazareth or anywhere else in the world.

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.

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

What cinema can do is the reordering of this reality from a certain chaos or from a certain order into an aesthetic dimension.

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