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 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 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.

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.

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.

Someone like myself is not from one place. I am in total identification with the New York, French, and Palestine experience and do not stop at the borders of identity.

To think that we are disconnected in some way serves the occupation whether it's through indifference or a distancing. It is a colonial approach of making you a subject and them the spectators. That is disturbing and counterproductive. And then suddenly they are surprised or find it alienating that the microcosmic effects of Palestine are happening in the U.S., France, and England, whether it's from the Islamic movements or immigration factors. Keeping a false purity of their countries will harm them eventually.