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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.

Michael Haneke

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Michael Haneke
Age: 82
Born: 1942
Born: March 23
Film Actor
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München
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I consider all my films an experiment, at least in my mind.
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A feature film is twenty-four lies per second.
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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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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 consider all my films experiments.
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A strict form such as mine cannot be achieved through improvisation.
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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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Like every filmmaker, I make my films to reach the widest audience possible.
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As a private person, professionally I am invisible.
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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 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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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’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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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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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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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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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 make my films because I'm affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I'm dealing with. I think it's a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.
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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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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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