The people in Arab countries are now speaking out and asking many questions about human rights, minorities, religion, democracy, "the other," and so on.

Knowledge and imagination are the life buoy and the extra lung for breathing outside the walls of a tainted reality.

How can one talk in a classical language about a child who's torn apart in an explosion in the market near his school? People in Iraq don't talk about their joys, their problems, and the destruction of the country in literary diction.

Whenever we went out to film in the street we would end up in the police station and in the offices of some other security agency. They deliberately intimidated us. I moved to Kurdistan and changed my name and made my first feature film in Kurdistan with very basic resources.

There's no violence worse than the violence of Iraq. For the last fifty years Iraq has been living a nightmare of violence and terror. It's been a horrible experience and people in Iraq will need a lot of time and work to get over the disastrous effects. But first we have to think about how to stop the violence, so that the bloodshed stops. In spite of everything, on the personal level I don't easily lose hope.

Some Iraqi writers are more daring today and have excellent imaginations and their material is rich in human experience. But the Arab prizes, once again, are part of the context of life in the Arab world - anarchy, confusion, and corruption.

I began writing and became attached to writing at an early age. I began by writing poetry and experimenting with dialogues: modest plays, in other words. I also used to describe at great length the way people in the area lived.