Lebanon Quotes

Without justice you won't have stability.
I am constantly swimming on the margin, neither 100% American, French, nor Lebanese. I am none of those. I am the result of those three. Sometimes it's an asset: no one can put you in a category. That I do not make typical Lebanese, European or American films does not bother me.
I graduated from UC San Diego, wanted to work in film to get my hands-on real experience, did music videos, TV, feature films, all kinds of stuff.
I lived through many battles - the 1973, I was young; in 1982 with the Israeli invasions, and 2006 between Hezbollah and Israel. Before I emigrated to the States in '83, I had my own very black and white views of the Israelis and the Jews in general. But you start to understand that no matter what you think, there are two perspectives.
I was a child during the Lebanese civil war, and I remember Israeli bombardments. So growing up, my view of Israel was completely negative. I'm not coming from a neutral place, but with time, I've had to re-examine my thinking.
I was born in Lebanon and emigrated to the U.S. and went back. I'd been raised in a French school in Beirut. Lebanon is a peculiar place, so bicultural it goes along with you. There is a Western influence, an Eastern influence. Most people are fluctuating between those identities.
I wasn't trained as a writer-director. And the projects I write are difficult to finish.
I wrote and finished the script for 'Man in the Middle' two weeks after the September 11 bombing. It's a very American film about an ex-diplomat based in the Middle East, a leader in the U.S. administration who now sells used cars in the Middle East.
Nine months after we submitted the original screenplay for 'The Attack,' the studio that was involved pulled out. I've been told that 'you don't write in a French way; you can't make these multicultural films.'
Sometimes art is ahead of revolution.
The mystified idea I had of Israel - the demonization of Israel - it just wasn't true.
The world is going on a high-speed connection; the Arab revolution is still dial-up. So we have to give it a little time to download. Regimes come and go, but art endures.
A lot of Arabic composers such as Mohammed Abdel Wahab mixed sounds and instruments from all over the world. It's important to be able to propose new ways and new sounds without being stigmatised, censored or put aside.
'Al Jamilat' is not just feminist. It's an album with songs that feature women: women who are in love, rebellious women, political activists, women who are more submissive, women who are in charge.
All of the Arabic women I grew up listening to or watching had a very strong character.
As an artist, you need to be true to yourself and free and not put yourself in a box that contradicts with what you feel is needed for a song.
Back in Kuwait, I had started listening to a lot of English language music: western music, I would say - Kate Bush and Radiohead - and I loved Chet Baker, Etna James, a lot of singers and a lot of bands.
Because of the Lebanese civil war, I had a scattered childhood. I had to build my own connections to each country we moved to.
Change means resistance, and resistance means transformation and igniting energies.
Collaborating with other artists is an emotional thing. Obviously, you don't do it unless this person inspires you.
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