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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
Think
Develop
Thinking
Forms
Healthy
Classicism
Return
Stylistic
Becomes
Garde
Everyone
Avant
Else
Utmost
Form
Classical
More quotes by Michael Haneke
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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Film is simply the most complex way you can express yourself
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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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Film is 24 lies per second at the service of truth, or at the service of the attempt to find the truth.
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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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It became a gamble to myself whether I was able to do the exact same film [Funny Games]under very different circumstances.
Michael Haneke
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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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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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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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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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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Like every filmmaker, I make my films to reach the widest audience possible.
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If you go with the principle, you should go with the principle. If I really saw the subject very differently than ten years ago, I would have done a different movie.
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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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When you create a church, an institution, and you create a dogma. When you create an ideology, that's the danger. Communism, too, is a beautiful idea, but millions of people died when communism became an ideology.
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I'm interested in seeing films that confront me with new things, with films that make me question myself, with films that help me to reflect on subjects that I hadn't thought about before, films that help me progress and advance.
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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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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 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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