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.

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.

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.

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 am more at peace than I've ever known myself to be. My connectedness to the world is more intense. I am more attentive to the humanity around me.

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.