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Pornography, it seems to me, is no different from war films or propaganda films in that it tries to make the visceral, horrific, or transgressive elements of life consumable.

Michael Haneke

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Michael Haneke
Age: 82
Born: 1942
Born: March 23
Film Actor
Film Critic
Film Director
Screenwriter
Theatrical Director
University Teacher
Writer
München
Different
Pornography
Trying
Tries
Make
Propaganda
Life
Elements
Films
War
Transgressive
Film
Visceral
Seems
Horrific

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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.
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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.
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It's a disease of critics that once they've labeled someone, it's very hard to change their perspective. It's laziness.
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Film is simply the most complex way you can express yourself
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Of course, we avoid death. To know something is inevitable is one thing. To accept, to truly feel it... that's different.
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To me, it's far more efficient to mobilize the imagination. It's far more efficient to hear a creaking step, for example, than to see the face of a monster, which usually looks ridiculous, and where you know that the blood is ketchup.
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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.
Michael Haneke
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Drama lives on conflict. If you're trying to deal with social issues seriously, there's no way of avoiding violence, which is so present in society.
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I'm not really a happy person. It's a question of temperament. I have a tendency toward melancholy. You can feel quite happily melancholic.
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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.
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I always seek to mobilize, to call on the imagination of the spectator. It's well-known that the images that are created by one's imagination are far stronger than any that I can show. In fact, it's an error, a widespread error in mainstream cinema, to always want to show things and to depict things.
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A strict form such as mine cannot be achieved through improvisation.
Michael Haneke
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I consider all my films an experiment, at least in my mind.
Michael Haneke
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Never say no. It always depends on what's possible. I don't care so much where it is it's what I want to do that matters.
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I think that religion is an integral part of human needs, but the question also is how you understand religion.
Michael Haneke
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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.
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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.
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There are really two types of laughter on the part of the spectator. There is the laughter of recognition - which means seeing things you're familiar with and laughing at yourself. But there's also hysterical laughter - a way of dealing with the things we see that upset us.
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A feature film is twenty-four lies per second.
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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.
Michael Haneke