I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic.

When my works are being translated, I always get this question from my translators: Up or down? Which means, should it sound biblical and highbrow, or should we take it all down to sound colloquial? In Hebrew, it's both all the time. People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech.

When you work on a graphic novel or a film with people you've been together through a lot and you've exposed your secrets and weaker sides to each other.

I think that, in Israel, the greatest fear that people have, and I have it, too, is fear of genocide.

My stories are very compact. I want them to say the most complex things in the simplest way.

All my writing-life people kept telling me that I should stop writing short stories and start writing novels: my agent, my Israeli publisher, my foreign ones, my bank manager - they all felt and keep feeling that I'm doing something wrong here.

In my stories I can kiss the girls I want to kiss and punch the girls I want to punch. Nobody pays a price for it.