Given the events of even the 19th century, Zionism was inevitable. Given the events of the 20th century, Israel was inevitable.

I discover what my film is by embarking on the journey of making it.

I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.

You can't make a movie about the artist without shooting outdoors.

Given the events of even the 19th century, Zionism was inevitable. Given the events of the 20th century, Israel was inevitable.

I think the camera has got to be motivated. You can't have things arrived at gratuitously. Everything has to have an organic function, but the more comfortable I've become and the more imaginative and sophisticated and the more exploratory I've become at the medium, the more I've subtly deviated away from that in various ways.

The main problem is that the Hollywood system has already made the film before the director shoots a single frame.