Michael Haneke
Michael Haneke
Michael Hanekeis an Austrian film director and screenwriter best known for films such as Funny Games, Caché, The White Ribbonand Amour. His work often examines social issues, and depicts the feelings of estrangement experienced by individuals in modern society. Haneke has worked in television‚ theatre and cinema. Besides working as a filmmaker, Haneke also teaches film direction at the Film Academy Vienna...
NationalityAmerican
ProfessionDirector
Date of Birth23 March 1942
CityMunich, Germany
CountryUnited States of America
I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.
In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.
It became a gamble to myself whether I was able to do the exact same film ["Funny Games"]under very different circumstances.
Usually, when making a film, the surprises are negative surprises. You don't get what you wanted or what you hoped for. The only nice surprises are those that are offered to you by actors when they offer you these gifts, when they are better and give you more than what you had originally conceived. That doesn't happen every day on set, but if it happens a couple of times in the course of making a film, you can consider yourself very lucky.
I'm interested in seeing films that confront me with new things, with films that make me question myself, with films that help me to reflect on subjects that I hadn't thought about before, films that help me progress and advance.
I think watching a movie that simply confirms my feelings is a waste of time. That applies not only to movies, but also to books and every form of art.
I consider all my films an experiment, at least in my mind.
I never use soundtrack; it is always part of the story.
People have been educated to expect answers, even before the questions come along. It's the TV principle. You offer three possible answers before the questions come to relax and calm the audience.
And if there was one title that could be applied to all my films, it would be 'Civil War' - not civil war in the way we know it, but the daily war that goes on between us all.
The dumber people are, the more they feel the need for a broad set of shoulders they can lay their head against.
A strict form such as mine cannot be achieved through improvisation.
As a private person, professionally I am invisible.
It's the duty of art to ask questions, not to provide answers. And if you want a clearer answer, I'll have to pass.