I'm not an activist. I'm a filmmaker. I'm a dramatist. My strength is to tell a story, to find a way to tell a story that makes it exciting. Our Untold History was a huge challenge. Snowden was no piece of cake, because writing code and breaking code is some of the most boring stuff you've ever seen.
I didn't want to tell the story of what makes two people come together, although that's a theme of great power and universality. I wanted to find out what it takes for two people to stay together for fifty years -- or more. I wanted to tell not the story of courtship, but the story of marriage.
Real power is having the ability and the resources to tell an amazing story or to say 'yes' to a filmmaker and change not only the filmmaker's life but the world.
I wanted to tell, in Hebrew, about my father who sat in jail for long years, with no trial, for his political ideas. I wanted to tell the Israelis a story, the Palestinian story.
I've wanted to direct for a long time, but it had to be a story I wanted to tell. The writer's job is to find the story that he should tell.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.
I wonder what it is that the people who criticize me for telling this story truly object to: is it that I have dared to tell the story? Or that the story turns out not to be the one they wanted to hear?
Tell your story: yes, tell your story! Give your example. Tell everyone that it's possible, and other people will then have the courage to face their own mountains.
I thought my story was over. But that was when I realised I finally had a story to tell - and it seems to remind people of their own story.
Early on... I did notice that a lot of people had the tendency to do their own story starting out. I felt like I was never interested in that, and I wanted to tell stories of people who are very different.
I know when someone that's not you tries to tell your story, especially when you don't look like the person whose story you're trying to tell, you're going to screw it up. And the only way to get it right is to have them be as involved as possible.
If a writer is to tell his own story - tell it slowly, and as if it were a story about other people - if he is to feel the power of the story rise up inside him, if he is to sit down at a table and patiently give himself over to this art - this craft - he must first have been given some hope.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
As a filmmaker, you take reality and you tell a story from it.
I've been involved in social activism my entire life, and I would argue that many people involved in social activist movements have done very little work on themselves.