As a child, I never wanted my parents to be unhappy, which meant that I would always contemplate what would make them happy.

I've always had a very developed superego. I also had a very powerful id, but there was no ego in the middle. So writing was always like letters sent from the id to the superego, saying, "What's going on here?" What I loved about writing was that I was totally weightless. I was amazed at the fact that I could be myself without being afraid that anyone would get hurt.

The fact is that everything I have in my pockets is carefully chosen so I’ll always be prepared. Everything is there so I can be at an advantage at the moment of truth. Actually, that’s not accurate. Everything’s there so I won’t be at a disadvantage at the moment of truth.

When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.

Translators are like ninjas. If you notice them, they’re no good.

Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.

In Israel, there is this reduction of the political discourse to something that is very limited. It's as if you have that pitch that only dogs can hear. Sometimes I feel I speak at such a pitch that very few people around me communicate with what I'm saying.