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
thinking needs humans
I think that religion is an integral part of human needs, but the question also is how you understand religion.
thinking ideas firsts
Of course there are many films about the period of Fascism itself but I don't know of any about that period beforehand. But it wasn't that specific fact that they weren't there that got me to think about this in the first place. It's not what led to the basic idea for the film, although it became apparent when I began to think about it.
art book thinking
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.
liars hypocrite thinking
Even the most elitist director or author who claims that he doesn't care if his works are seen or not, then I have to think that he's either a liar or a hypocrite.
thinking people waiting
To be perfectly honest, I think that as I'm growing older, I'm just growing more impatient. I'll be very happy if at some point people say, 'Michael's grown wiser and softer in his old age.' But we'll have to wait and see what my next project is.
believe thinking two
If a director says he doesn't care how many people see his films at all, I simply don't believe him. Otherwise why would he bother to make the film? The only explanation would be that it would be an act of masturbation. I think that every creator is looking for a receptor. He's looking for an audience. There are two parts of the equation: a creator and, necessarily, the receiver of the work. It's the same thing for a painter who wants his paintings to be seen.
thinking excellence directors
Film is the manipulative medium par excellence. When you think back on the history of film and the 20th century, you see the propaganda that's been made. So there are moral demands on the director to treat the spectators as seriously as he or she takes himself and not to see them merely as victims that can be manipulated to whatever ends they have.
simple thinking giving
Films that are entertainments give simple answers but I think that's ultimately more cynical, as it denies the viewer room to think. If there are more answers at the end, then surely it is a richer experience.
thinking healthy avant-garde
Classicism becomes avant-garde when everyone else is doing their utmost to develop new stylistic forms. I think it's healthy to return to classical forms.
writing dark thinking
People expect me to be dark and gloomy, then write that I'm a jolly chap, and after all, that is what I am. I think it's a case of an absolute romantic naivety that there should be a parallel between the work and the artist.
art reflection thinking
I make my films because I'm affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I'm dealing with. I think it's a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.
thinking imagination important
If I tell the audience what they should think, then I am robbing them of their own imagination and their own capacity of deciding what's important to them.
thinking giving spoons
I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.
buried confront country daniel france general guilt saw stunned third
I wanted to confront someone with something he had done as a child. That was the general idea, guilt and consequences. Then I wanted to make a film with Daniel Auteuil. And the third thing, I saw a documentary about the 1961 massacre. I was stunned that in a country like France it could be buried for so long.