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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.
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
Characteristics
Provide
Answers
State
Idea
Everyone
Fascism
More quotes by Michael Haneke
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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The dumber people are, the more they feel the need for a broad set of shoulders they can lay their head against.
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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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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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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'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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Like every filmmaker, I make my films to reach the widest audience possible.
Michael Haneke
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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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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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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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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People have been educated to expect answers, even before the questions come along. It's the TV principle. You offer three possible answers before the questions come to relax and calm the audience.
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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 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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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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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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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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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 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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As a private person, professionally I am invisible.
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