American - Director | March 23, 1942 -
I'm lucky enough to be able to make films and so I don't need a psychiatrist. I can sort out my fears and all those things with my work. That's an enormous privilege. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.
Michael Haneke
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I try to get closer to reality, to get close to the contradictions. The cinema world can be a real world rather than a dream world.
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On the set I make jokes I can't get too involved, or it turns into sentimental soup. I try to keep it light.
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I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.
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All movies assault the viewer in one way or another.
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You can use your means in a good and bad way. In German-speaking art, we had such a bad experience with the Third Reich, when stories and images were used to tell lies. After the war, literature was careful not to do the same, which is why writers began to reflect on the stories they told and to make readers part of their texts. I do the same.
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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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I'm not someone who enjoys long talks, long rehearsals. I'm very technical: I tell my actors, you come in, you sit down, you pick up a coffee, you look here, you say the line. We try it with the cameras rolling, and if it doesn't work, we adjust it until it does. It's very simple.
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To be perfectly honest, I think that as I'm growing older, I'm just growing more impatient. I'll be very happy if at some point people say, 'Michael's grown wiser and softer in his old age.' But we'll have to wait and see what my next project is.
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In all of my work I'm trying to create a dialogue, in which I want to provoke the recipients, stimulate them to use their own imaginations. I don't just say things recipients want to hear, flatter their egos or comfort them by agreeing with them. I have to provoke them, to take them as seriously as I take myself.
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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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What I like are films that take me seriously, that don't treat me as more stupid than I am.
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