This is evoking a very familiar image in Israel. There's a very famous photograph of a Jewish boy in the ghetto with his hands up, it's really in the collective subconscious. These are Palestinians and it's a mirror image, again very bluntly illustrating this feeling of Ari, who, as the son of Holocaust survivors, got involved in this massacre in kind of a reverse role.

In the beginning the colour was that bright chemical orange but here it was almost impossible to look at, so we had to tone it down. The colour is deliberately not as energetic, there's something very slow about the whole thing. And again that's part of the atrocity; the massacre took three days. They were killing them very slowly. It has an exhausted feel to it, you can't move fast in this sort of atmosphere.

The shift to live-action at the end of the film is a big issue. For me, I wasn't sure about it. We had a lot of debates with Ari but he was completely for it from the beginning and now I understand what he meant. It's true that it's blunt and it's true that it breaks this atmosphere but that's the only simple way to convey the message that something real happened. This whole artistic side of elevating the events, that's all good. But we can't forget that something horrendous took place.