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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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Film Director
Screenwriter
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University Teacher
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München
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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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You cannot hurt animals, so what do I do? I kill the dog first. Then I do it with the boy. You're not supposed to break the illusion of this being a film, so I make the actor talk to the audience. Provocation is the principle of the whole film [ Funny Games]. It is very ironic.
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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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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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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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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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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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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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I think that religion is an integral part of human needs, but the question also is how you understand religion.
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A strict form such as mine cannot be achieved through improvisation.
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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'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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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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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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A feature film is twenty-four lies per second.
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Like every filmmaker, I make my films to reach the widest audience possible.
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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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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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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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