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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
Idea
Everyone
Fascism
Characteristics
Provide
Answers
State
More quotes by Michael Haneke
A strict form such as mine cannot be achieved through improvisation.
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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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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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A feature film is twenty-four lies per second.
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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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What we're doing for another person is more important than what we're feeling for them.
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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'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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I think that religion is an integral part of human needs, but the question also is how you understand religion.
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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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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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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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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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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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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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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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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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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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You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.
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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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