A Quote by Ori Gersht
Violence can be very grotesque and also intensely attractive. What interests me is how the two - beauty and violence - live side by side, and how moments can be created and erased almost simultaneously. Destruction is painful, but at times it can be very cathartic.
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Mr. President, prime ministers, let us have ambitions: ambitions to move beyond the violence and occupation, to the day when two states, Palestine and Israel, can live together side by side in peace and security.
We were raised with that discussion about violence and non-violence, and we all pretty much came up on the side of non-violence. That became my foundation with politics and my livelihood.
Really, I wanted to make a movie [Valley Of Violence] about: How does violence affect people? This is a take from me on how violence affects people.
The ultimate weakness of violence is that it is a descending spiral, begetting the very thing it seeks to destroy... In fact, violence merely increases hate. So it goes. Returning violence for violence multiplies violence, adding deeper darkness to a night already devoid of stars.
Non-violence is a very powerful weapon. Most people don't understand the power of non-violence and tend to be amazed by the whole idea. Those who have been involved in bringing about change and see the difference between violence and non-violence are firmly committed to a lifetime of non-violence, not because it is easy or because it is cowardly, but because it is an effective and very powerful way.
Violence maims not only the body but also the mind and spirit. As Pierre Bourdieu has argued, it lies "on the side of belief and persuasion." If we are to counter violence by offering young people ways to think differently about their world and the choices before them, they must be empowered to recognize themselves in any analysis of violence, and in doing so to acknowledge that it speaks to their lives meaningfully.
My approach to violence is that if it's pertinent, if that's the kind of movie you're making, then it has a purposeI think there's a natural system in your own head about how much violence the scene warrants. It's not an intellectual process, it's an instinctive process. I like to think it's not violence for the sake of violence and in this particular film, it's actually violence for the annihilation of violence.
A theme that has always interested me is how women express anger, how women express violence. That is very much part of who women are, and it's so unaddressed. A vast amount of literature deals with cycles of violence about men, antiheroes. Women lack that vocabulary.
[Albert Camus]didn't have much hope that things would work out, but he wanted them to. Algeria had reached such a degree of violence that once such violence is created there's no more room for reflection. And there's no mediating position. If you look at Bosnia today, the Croats, Bosnians and Serbs, they've all created so much horror that one starts to wonder how these peoples can live together, after having done what they have. Already the violence has reached such a degree that everybody is living in hate, there's no possibility of reflection, no mediating position.
I must remind you that starving a child is violence. Suppressing a culture is violence. Neglecting school children is violence. Punishing a mother and her family is violence. Discrimination against a working man is violence. Ghetto housing is violence. Ignoring medical need is violence. Contempt for poverty is violence.
I'm very careful about how I portray violence in my films. I do believe that violence, especially violent video games, are not a good thing for young kids.
You can't assume if you do something contentious that people will be on your side. The moment violence enters the story, the story changes. Then the question is, "How do you face up to violence?" And then you have to have a no-compromise position. And this is quite simply a lesson we learn in the school playground.
I certainly wasn't able to get it when I was a kid growing up on the Lower East Side; it was very hard at that time for me to balance what I really believed was the right way to live with the violence I saw all around me - I saw too much of it among the people I knew.
The book is called 'A House in the Sky' because during the very, very darkest times, that was how I survived. I had to find a safe place to go in my mind where there was no violence being done to my body and where I could reflect on the life I had lived and the life that I still wanted to live.
A lot of times, politics, global issues are very black and white. There is a place for that, but it's also fantastic to have art side by side, from different viewpoints, open for interpretations.
Bush and bin Laden are really on the same side: the side of faith and violence against the side of reason and discussion. Both have implacable faith that they are right and the other is evil.
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