From my perspective, Kinneret - Sea of Life is not just another movie.
I put 20 years of photography into creating it; A long, exciting period of my life. The movie’s story was written and arranged based on thousands of hours of filmed material; many hundreds of experiential filming days spent at the Kinneret.
I was able to overcome the constant human “disturbance” and meet, become familiar, and love many different creatures who share this land with us, its beaches, and its waters; sensitive, moving circles of life.
To experience the intimacy of the “heroes” of my work, I used many cameras, camouflages, and even imprinted a pair of Jungle cats, with special permission from the Israel Nature and Parks Authority, and assistance from Amitzur Boldo and Dr. Liora Glas-Alon.
By the time of the post production, I was no longer alone. I was joined by Marek Rozenbaum of Transfax Film Productions, and several other very talented artists.
Editor Tzipi Raz received the large amount of material, organized according to the chapters of the story. However, I continued loading her with new material I filmed as the Kinneret changed and evolved with the rise of its level in recent years.
The film score was written by Uri Ophir, with whom I have been in touch with since the making of Land Of Genesis.
I shared with him all the musical ideas evoked by the filmed material over the years.
While filming, events would often occur that called for a twist in the story, giving me new ideas for the music I wanted, and I shared all of them with Uri. For months, he sat in front of the edited film, composing the symphonic music.  He was very careful about matching the music to the atmosphere of the scene, thus complementing the sounds of nature to create a compelling story. 
The list of artists employed also included Rachel Shapira who wrote the lyrics to the songs, and Elai Botner who composed them.  They were regular guests at Uri’s studio on Mishmar Ha’emek, later joined by Yardena Arazi and Adar Gold who came to record the songs.
Shelly Bar-On designed the nature soundtrack and was in charge of completing the final mix. She received a film with hardly any sounds of nature since they are drowned out by the ambient noise at the Kinneret. All the sounds of wildlife and natural surroundings were constructed in her sound studio in Paris and at her home, using the sounds created at the studio, and the sound archive collected by me over the years at rare moments of human silence.
Ricka Rousso Cina and Nathan Brand helped me with the wording of the story, narrated by Hadar Marx.
Alon Barak, who just recently opened the Red Pill Studio, received the film for finishing touches to picture and color. He received a movie filmed over the course of 20 years with many different cameras, representing the technological development of the period.  With great know-how and talent he gave the film’s picture a uniform character and color, corresponding to the development of the story. The result is simply breathtaking!

I also wish to thank Donna Gleit, who for years served as editing assistant, and helped in organizing the filmed material.
And, of course, the members of my extended family, who have always been there for me over my many years of work.

All my life I have experienced the Kinneret.
I am one of those creatures born on its shores (at the Scottish Hospital in Tiberias, a few dozen yards from the water).
I have my own Kinneret, in my heart and soul...
I have seen it and experienced it in years of ebb and flow; its appearance evolving with the change of seasons; always young, always beautiful, and forever beloved.
       
For me, today’s premiere is an amazing, moving experience... and it’s here in Israel.