This character in the film, these things that he says which sound like advice and wise things, they are very common for Orientals. It's all the tradition.

People don't have to be beautiful any more. We don't have any Audrey Hepburns, Rita Hayworths or Ava Gardeners. When you look at Al Pacino and the greatest actors in Hollywood they're all common-looking.

I want to live every moment totally and intensely. Even when I'm giving an interview or talking to people, that's all that I'm thinking about.

To learn bad dialogue is so difficult and so boring, and to work with a stupid director who tells you to do the wrong thing, etcetera, it's just unbearable.

I see only defects because I'm not following the scene as it were. I'm not following the other person. It's like the best thing to clarify this is the theater.

This is one of the factors that also made me very much want to make this film, apart from the fact that I loved it. If the boy hadn't been Jewish and the man hadn't been Muslim, it wouldn't have made any difference to the film. I don't think it's relevant, really.

He read his mind. He's a strange sort of man, isn't he? It's not just the advice and the wisdom that he has.