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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
Seems
Horrific
Different
Pornography
Tries
Trying
Propaganda
Make
Elements
Life
Films
War
Transgressive
Film
Visceral

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It's a fact that people who are in a weakened position, whether physically or mentally, have this perception of the outer world as threatening. Everything that is unexpected or unknown is seen as a potential danger.
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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.
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As a private person, professionally I am invisible.
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It became a gamble to myself whether I was able to do the exact same film [Funny Games]under very different circumstances.
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Personally, I can't stand violence. In any standard American mainstream movie, there's 20 times more violence than in any one of my films, so I don't know why those directors aren't asked why they're such specialists for violence.
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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.
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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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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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A strict form such as mine cannot be achieved through improvisation.
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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.
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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.
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I consider all my films an experiment, at least in my mind.
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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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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.
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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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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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It could be Fascist, religious or political - it's always the same model that operates in these circumstances, and it's that which is the actuality of this film. Therefore, it's not specifically an explanation of German Fascism because that would be an impossible thing to do in any case.
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That is one of the characteristics of fascism, the idea that the state can provide all of the answers for everyone.
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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.
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What we're doing for another person is more important than what we're feeling for them.
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