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 don't like the expression "writer's block" because I think it presupposes that you have a problem with your plumbing. I really think it's the other way around.

For me taking a pragmatic decision when it comes to art is almost an oxymoron. The reason I first picked up a pen and wrote a story had nothing pragmatic in it.

The amazing thing about an artistic collaboration is that it is as intense and intimate as a romantic one. Sometimes even more so.

I never know the endings when I write. It's a turnoff when you know the ending. You lose much of your incentive to write when you already know. It's like seeing a movie a second time.

I really believe hatred is not a primal emotion, in that you can't find it in nature. It's basically some kind of distortion of fear.

People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech. When I started writing, I thought [the language] was telling the story of this country: old people in a young nation, very religious, very conservative, very tight-assed, but also very anarchistic, very open-minded. It's all in the language, and that's one thing that doesn't translate.