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.

If a person just takes what is socio-political and geographical from the themes of my films then that's not enough. But if the person goes out of the theatre and, for example, makes the dinner he's eating later on, extra nice then I feel that I have succeeded. We have this urge to anaesthetize the moment we're living in.

The problem is that when you grow absolutely certain that all authorities are corrupt, then that would include the Palestinian authorities as well.

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

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 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.

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.