I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.

It is crystal clear to me that if Arabs put down a draft resolution blaming Israel for the recent earthquake in Iran it would probably have a majority, the U.S. would veto it and Britain and France would abstain.

I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.

I find the family the most mysterious and fascinating institution in the world.

Every single pleasure I can imagine or have experienced is more delightful, more of a pleasure, if you take it in small sips, if you take your time. Reading is not an exception.

I was born and bred in a tiny, low-ceilinged ground-floor apartment.

But for 30 years, Orthodox leaders have tipped the balance between hawks and doves, and have been in a position to determine who forms a coalition and who runs the country.

And in this respect, the Israeli-Palestinian conflict has been a tragedy, a clash between one very powerful, very convincing, very painful claim over this land and another no less powerful, no less convincing claim.

I wrote a novel about Israelis who live their own lives on the slope of a volcano. Near a volcano one still falls in love, one still gets jealous, one still wants a promotion, one still gossips.

A conflict begins and ends in the hearts and minds of people, not in the hilltops.

Two children of same cruel parent look at one another and see in each other the image of the cruel parent or the image of their past oppressor. This is very much the case between Jew and Arab: It's a conflict between two victims.

The actual gap between Labor, Likud and the new central party is microscopic.

But The Same Sea is set precisely in this Israel, which never makes it to the news headlines anywhere. It is a novel about everyday people far removed from fundamentalism, fanaticism nationalism, or militancy of any sort.

Well, my definition of a tragedy is a clash between right and right.

If we don't stop somewhere, if we don't accept an unhappy compromise, unhappy for both sides, if we don't learn how to unhappily coexist and contain our burned sense of injustice - if we don't learn how to do that, we end up in a doomed state.

On my parents' scale of values, the more Western something was, the more cultured it was considered.

One of the things I wanted to introduce in The Same Sea beyond transcending the conflict, is the fact that deep down below all our secrets are the same.

In many ways, I regard Sharon and Arafat as birds of a feather.

I have seen for the first time in 100 years of conflict, the two peoples - the Israeli people and the Palestinian people - are ahead of their leaderships.

I recommend the art of slow reading.

All of my novels are democracies.

Israel of the coastal plain, where eight out of ten Israeli Jews live far removed from the occupied territories, from the fiery Jerusalem, from the religious and nationalistic conflicts, is unknown to the outside world, almost unknown to itself.

Israel is a fulfilled dream. Nothing that exists here existed here a hundred years ago.

The Old Testament is full of poetry, prophecies, chronicles, documentations, storytelling, fairytales.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

My big love was the Beatles. I was more into music.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

Uhm, I'm the one wanting the lessons! I don't want to say too much about it because I'd rather have you see the movie, but he's trying to find his music.

The value of music is to be able to play one note at the right time in the right way.

Younger players in this music often turn out to be middle aged; it is not a young music.

There's an inherent thing in me where, if things are going too smooth, I'll sabotage the hell out of them, just to make the music more of a sanctuary.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.