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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.

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'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 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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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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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 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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A strict form such as mine cannot be achieved through improvisation.
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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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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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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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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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Like every filmmaker, I make my films to reach the widest audience possible.
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It's more enjoyable to shoot in a studio on a single location with two actors... if they are good.
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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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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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Film is the manipulative medium par excellence. When you think back on the history of film and the 20th century, you see the propaganda that's been made. So there are moral demands on the director to treat the spectators as seriously as he or she takes himself and not to see them merely as victims that can be manipulated to whatever ends they have.
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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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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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That is one of the characteristics of fascism, the idea that the state can provide all of the answers for everyone.
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If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
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