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 want to be able to control things and that's very difficult to do if you're not 100% in a particular language. It makes you uncertain and it makes you nervous.
I learned my business in the theater and in television, particularly working with the actors. You can learn much more in the theater than directing a movie, because then you have no time when you are shooting a movie to really work with the actors. You have to learn this craft somewhere else.
All movies assault the viewer in one way or another.
I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.
Of course, we avoid death. To know something is inevitable is one thing. To accept, to truly feel it... that's different.
Because in the feudal system of that period at least 80% of people lived in villages, so it's very simple to get a cross-section of society in a single village. You get the microcosm of the social macrocosm.
As a European filmmaker, you can not make a genre film seriously. You can only make a parody.
Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.
Because I'm the author of my screenplays I know what I'm looking for. It's true that I can be stubborn in demanding that I get what I want, but it's also a question of working with patience and love.
There is just as much evil in all of us as there is good. We're all continuously guilty, even if we're not doing it intentionally to be evil. Here we are sitting in luxury hotels, living it up on the the backs of others in the third world. We all have a guilty conscience, but we do very little about it.
It's impossible to consider living without ideals. However, when ideas lead to ideology, that's a very dangerous thing. Ideology then leads to creating the image of an enemy, and it leads to the murder and massacre that we've seen since the beginning of time.
I love actors, both my parents were actors, and the work with actors is the most enjoyable part of making a film. It's important that they feel protected and are confident they won't be betrayed. When you create that atmosphere of trust, it's in the bag - the actors will do everything to satisfy you.
To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.
My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.