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

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

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

I try to use fiction in order to reduce the potentiality of something being true. We produce our own memories so I'm not sure of truth.

The desire to express in an art form and to compose a tableau and vignette whether it's humorous, burlesque, or poetic comes simply from a desire to compose an image for cinema. It is not my fault that when I go to Ramallah there is a checkpoint and therefore it enters my film. Tell me a way to avoid that politicized image. The fact is that the police are everywhere, the army everywhere and occupation is total. Whether it's a love story or a thriller, you place the camera and these realities will cross the frame.

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.

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.