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.

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.

You look at them, the animals in the wild, and they stay the same. They have their rules which I cannot decipher, and there's something very strong about that, it's also unknown and for me unpredictable.

I like Palestinians in the morning when they come and we talk but in the evening, who knows, maybe they don't know that I'm nice.

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.

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