For Beirut it was the civil war, and the dividing of the city - which is something that is shared among Beirut, Berlin and Baghdad. And Cairo is a city that has a scar that was born after many decades of dictatorship - oppression shaped the people's lives, and forced people to grow up accompanied by fear. I belong to a generation that, whether we like it or not, was shaped by this fear of death or loosing the people you love, the threat of war, not allowed to be yourself, forced to be silent - as you watch ignorance occupying everything around you. And this is a deep scar.

I think that to me, films are personal affairs. It doesn't mean that I am against other people doing things differently, but I'm talking about what I can do. So I don't feel comfortable going to a new city or a certain class of which I don't have sufficient knowledge, doing research on that, and then writing a story about it I don't think I have the ability of presenting other people on screen in that way. It makes me uncomfortable. This doesn't mean that I only want to talk about myself. I want to talk about what I know.

For Beirut it was the civil war, and the dividing of the city - which is something that is shared among Beirut, Berlin and Baghdad. And Cairo is a city that has a scar that was born after many decades of dictatorship - oppression shaped the people's lives, and forced people to grow up accompanied by fear. I belong to a generation that, whether we like it or not, was shaped by this fear of death or loosing the people you love, the threat of war, not allowed to be yourself, forced to be silent - as you watch ignorance occupying everything around you. And this is a deep scar.

To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.

Every film has a political side. It's something that you cannot ignore. Politics is a part of everything, it's how we speak, how we perceive one another, how we hold this interview: Everything is politics. But it's a very different thing to just stuff your film with political messages.

For me, filmmaking is an ongoing self-reflection process. I kind of push everything to the edge. I feel very exposed and fragile when I make a film. It's a process of dealing with loneliness. And it's also very dramatic - because while you are working on a film, you just realize how incapable you are of dealing with all these things. And you open yourself up, and it's like your heart is utterly exposed. And it's very tiring on a daily basis.

I think as much as the city is changing us, our experience inside the city also changes. I think, a city like Cairo - and it's interesting because yesterday, a friend of mine told me the same this thing about New York - is a city that you can't control. It's very bold and very aggressive, and it will constantly resist any attempt at control. But even though you can't control it, you can find your path within the city. You can come to a better understanding of your relationship with it.