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It's more enjoyable to shoot in a studio on a single location with two actors... if they are good.

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
Single
Actors
Two
Good
Enjoyable
Location
Studio
Shoot
Studios

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As a private person, professionally I am invisible.
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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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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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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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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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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.
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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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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 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 want to make it clear: it's not that I hate mainstream cinema. It's perfectly fine. There are a lot of people who need to escape, because they are in very difficult situations, so they have the right to escape from the world. But this has nothing to do with an art form.
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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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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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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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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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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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What we're doing for another person is more important than what we're feeling for them.
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At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.
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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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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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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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