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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.

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
Everyone
Avant
Else
Utmost
Form
Classical
Think
Develop
Thinking
Forms
Healthy
Classicism
Return
Stylistic
Becomes
Garde

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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'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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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.
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I think that religion is an integral part of human needs, but the question also is how you understand religion.
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If I'm reading a book that doesn't leave me with questions, moving questions, that I feel confronted with, then for me it's a waste of time. I don't want to read a book that simply confirms what I already know.
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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.
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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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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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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.
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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 don't need a psychiatrist. I can sort out my fears with my work. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.
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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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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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Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. If we actually had those answers, then society would appear very different from what it is.
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I’ve been accused of ‘raping’ the audience in my films, and I admit to that freely — all movies assault the viewer in one way or another.
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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.
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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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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.
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In German. I'm more sensitized to the details, to the emotions. In English, I wouldn't detect as much nuance.
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A strict form such as mine cannot be achieved through improvisation.
Michael Haneke