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Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.

Etgar Keret

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Etgar Keret
Age: 57
Born: 1967
Born: August 20
Actor
Film Director
Pedagogue
Playwright
Poet
Screenwriter
Writer
Keret
Etgar
Give
Characters
Giving
Started
Much
Story
Way
Didn
Make
Film
World
Stories
Positioned
Thought
Physically
Character
Films

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For my mother, having a family was the most important thing in her life. In the Second World War, it was a challenge - surviving physically and mentally and finding somebody who you loved and who was willing to be with you.
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If you want to learn how to be happy, you have to know what is sadness first.
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The fact is that everything I have in my pockets is carefully chosen so I’ll always be prepared. Everything is there so I can be at an advantage at the moment of truth. Actually, that’s not accurate. Everything’s there so I won’t be at a disadvantage at the moment of truth.
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You'll never know what's happening inside the heads of other people.
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According to Gur's theory of boredom, everything that happens in the world today is because of boredom: love, war, inventions, fake fireplaces - ninety-five percent of all that is pure boredom.
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People usually don't allow you to cut off their tongue.
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When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.
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Translators are like ninjas. If you notice them, they’re no good.
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What you experience in the army, aged 18 to 21, is what you take through all your life. You cross invisible lines: you shoot someone, get shot, break into people's houses. It's naive to think you won't carry anything into your life.
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I used to feel that if I say something's wrong, I have to say how it could be made right. But what I learned from Kurt Vonnegut was that I could write stories that say I may not have a solution, but this is wrong - that's good enough.
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As the son of Holocaust survivors, this is life - you're put in a corner, and you have to get out. I believe that you can always get out.
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Making up characters and places and plots, unlike fixing your plumbing or doing dishes, is anything but practical or rational. I write what needs to be written the way that seems genuinely right.
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I often give this metaphor where I say that writing short fiction is like surfing, while writing a novel is like navigating with your car. So when you navigate with your car, you want to get somewhere. When you surf, you don't want to get somewhere, you just don't want to fall off your board.
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Writing is a way of living other lives. It is a way of expanding your life. It's not actually living a different life, it just means that you're hungry for life. There are so many things you want to do.
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I think that, in Israel, the greatest fear that people have, and I have it, too, is fear of genocide.
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What happens when you speak colloquial Hebrew is you switch between registers all the time. So in a typical sentence, three words are biblical, one word is Russian, and one word is Yiddish. This kind of connection between very high language and very low language is very natural, people use it all the time.
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I don't have Facebook or Twitter accounts yet. Being a compulsive storyteller, I always make up for myself discouraging stories about how such accounts will get me into embarrassing and time-consuming situations.
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In Israel, there is this reduction of the political discourse to something that is very limited. It's as if you have that pitch that only dogs can hear. Sometimes I feel I speak at such a pitch that very few people around me communicate with what I'm saying.
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It took a lot to understand that the interest in both writing a story and reading it is not in the objective dangers someone takes. You don't have to fight snakes or wake up in a strange apartment to have a story it's about what goes on inside your mind and soul.
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You don't need to use the language of God to ask where the restrooms are.
Etgar Keret