After school, I went to Damascus to study law and history, which I didn't really like. I didn't like history, in particular. In Syria, the regime was trying to present to us a distorted version of the past. Assad was shown as the father of history. So I decided to shift to film, which was something I had always loved as a teenager.

I am not saying that the Kurds are angels, but they have suffered too much. These people have a right to live in their country. The right just to be where they are, in freedom. And now the world has started believing in this. Kurdistan is coming. In some five years, I hope, we will have a flag in New York, hanging with all the other flags.

It's difficult to make movies. For me it was easier, as a refugee in Switzerland, to make documentary films, because I didn't need a lot of money for it. The way I tell my story or my opinion would be very similar in both fiction and documentary forms. But I found I could speak more effectively to convey this brutal reality through documentary than I could through fiction.

When I see that people are touched, and they feel solidarity with him, I say to myself, "I made a little change."

After school, I went to Damascus to study law and history, which I didn't really like. I didn't like history, in particular. In Syria, the regime was trying to present to us a distorted version of the past. Assad was shown as the father of history. So I decided to shift to film, which was something I had always loved as a teenager.

The problem of ISIS is not recent. Ever since the Second World War, people in this region have been, and are today, living under brutal dictatorships governed by nationalistic fervor. As for the Kurdish question: nobody from the Arab world is serious about fighting ISIS. It's only the Kurdish people who are standing firm against ISIS. And I think Europe, the United States, and most other democratic countries of the world are beginning to look at the Kurds in another way. The Kurds are really becoming their partners in the region.

Sitting in the darkness of the cinema, I got to see another world. This imaginary world was a refuge for many of us. Of course, the films were controlled and censored by the regime. But I still thought, around this time, that maybe making films would be good for me. I thought of expressing myself through this medium, and of doing something for the Kurds. The options were clear: either I'd work as a lawyer under the Baath regime or make movies independently.