JULIA BACHA

Violence and nonviolence are, after all, two different forms of theater. They both depend and thrive on the response of an audience.

If we don't pay attention to [nonviolent protests], they are invisible, and it's as if they never happened. But I have seen first hand that if we do, they will multiply.

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

Violent resistance and nonviolent resistance share one very important thing in common: They are both a form of theater seeking an audience to their cause.

When conflicts end non-violently, it's more likely that the result will be longer-lasting, democratic societies.

A film seeking to create change on a difficult issue should not try to provide a definitive historical overview, nor present an op-ed style argument.

History was always the subject that I loved the most, and I felt it gave me the deepest sense of our humanity and who we are and where we're going.

For any filmmaker who has just released a film and who is experiencing some measure of success, the temptation can be great to respond to every screening request that comes in.

Non-violence is not glamorous, and you don't see the effects right away.

When I was 17, I came to the U.S. to study Middle Eastern history and politics at Columbia University.

A film seeking to create change on a difficult issue should not try to provide a definitive historical overview, nor present an op-ed style argument.

History was always the subject that I loved the most, and I felt it gave me the deepest sense of our humanity and who we are and where we're going.

For any filmmaker who has just released a film and who is experiencing some measure of success, the temptation can be great to respond to every screening request that comes in.

Non-violence is not glamorous, and you don't see the effects right away.

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

Violent resistance and nonviolent resistance share one very important thing in common: They are both a form of theater seeking an audience to their cause.

When I was 17, I came to the U.S. to study Middle Eastern history and politics at Columbia University.

When conflicts end non-violently, it's more likely that the result will be longer-lasting, democratic societies.

Violence and nonviolence are, after all, two different forms of theater. They both depend and thrive on the response of an audience.

If we don't pay attention to [nonviolent protests], they are invisible, and it's as if they never happened. But I have seen first hand that if we do, they will multiply.