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 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 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.

We're always trying to avoid being in the darkness, not knowing, and also encountering animals. There's something about them not wanting to be seen; they go out at night, they hide, they don't want to be shown. It's very interesting genetically that they have to hide from us actually. Between themselves, they smell each other, but there is this thing of hiding, of suspicion.

The night is there, we're trying to ignore the night, the night was always there as children.

I think that the world is in a very serious decline - very, very serious.