That's what animals do all of the time; they watch out, they watch out, and I saw, "This is us now." Us, the world, we are watching out.

Panorama is the first word for landscape in Greek. It was about [how today] we see everything, we get to see everything, everything is shown to you whether you want it or not, but all of the time you only see fragments of reality. The big picture we really don't see; it's kind of hard to make it up.

I go back to [the idea] that we are avoiding all of these unknowns, we're avoiding the night - most of us - we're avoiding the encounters, but we're also afraid to deal with something unknown, unseen.

I decided to go to the night, myself, and started to go out to the fields, where I would encounter things that I cannot see very well, that I cannot detect very well, and to put myself in a position where I'm going to be suspected as a being entering a territory of other beings, and I'm also going to suspect them. I have to be very alert, and they are going to be very alert - this kind of position I felt was very much what is going on in the world for me.

I go and film 50 people in Israel, 50 people in Russia, and 50 people in Romania, in Paris, because I really like to get some particles of something real.

Animals are also the ones that are guarding the graves, and they are the ones who communicate between the dead and the alive.

I usually go to bed early to read. I read and I always say that I'm not a "bohemian artist;" I need to read for one or two hours in the evening, and the quiet, so I don't hang out a lot.