"Israel, the Israelis, and the rest of the world have been brainwashed. They don’t think of pre-1948, they have no idea Palestinians were in Israel, who we were before ’48. As if we were born in 1948 according to them. They have no notion that we had a country, houses, rebelled against the Ottomans and the British. They think history in that region started in that moment. The influence that brings this kind of scene in carries the burden of all these questions and preconceptions that a lot of people have or don’t know about the history of the region. About the looting in particular…I was shooting for a location in my neighborhood, and told a neighbor I wanted to shoot a scene from her balcony. She told me, “Come, I’ll show you something.” She showed me bullet holes in walls of her house. She explained that in 1948, she had just returned from her honeymoon in Beirut where she bought embroideries and other souvenirs. One day she walked into her house and found the Haganah wrapping all the embroideries and gold. They were looting her house. When her husband tried to prevent one of them (from the looting), they scared him by shooting. While telling me the story, she started to tear up. Sixty years later and it was as if it had just happened to her. I was so moved, disturbed, and angry, I told her I was going to take some revenge for her by creating this looting scene. I shot it outside of her house. I wanted an Israeli tank in the film and my line producer who is a good friend, Avi Kleinberger, asked the Israeli Army knowing they were not going to give it to him. Indeed they refused, but it wasn’t because of the tank or that scene. They didn’t care about the script, or 1948. They objected to the looting scene in script, because they said, “We are a moral army, we never steal.” [Laughs.] I told Avi, “They stole a fuckin’ country and didn’t feel moral about it.”"