I don't particularly have a good memory. I think history is many times just the text written by the victors. I wanted to counter that aspect.

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 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.

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

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

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.

Palestine is about how we drink the water, whether we are being ecological or not. Palestine is our way of exercising our daily living. That's what's going to solve the problem of Palestine. It's also how we think of ourselves spiritually. This kind of disconnectedness is harmful to the person who is acting that way and is sometimes annoying.