Michael Haneke Quotes - Page 3

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• In my film "Benny's Video," I depicted violence but I failed to say all that I had to say, so I wanted to continue the dialog and that's why I did "Funny Games." The irony is that after I shot "Funny Games," but it hadn't been released at all anywhere.

  Michael Haneke

  Games, Video, Violence

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• I think that religion is an integral part of human needs, but the question also is how you understand religion.

  Michael Haneke

  Thinking, Needs, Humans

  Interview with Sam Adams, www.avclub.com. December 30, 2009.

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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.

  Michael Haneke

  Want, Able, Language

  Interview with Rob Carnevale, www.indielondon.co.uk.

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• The smaller and younger kids are, the more patient you have to be. But if they're gifted, then it's a wonderful present that you're given by having a child like that in your film... more so than in the case of actors because, for example, if you ask them to play a lion, they don't then play a lion, they actually are a lion. So, a gifted child is something very special. On the other hand, if a child has no gifts in that way it's absolutely hopeless and there's nothing you can do!

  Michael Haneke

  Children, Kids, Hands

  "The White Ribbon - Michael Haneke interview". Interview with Rob Carnevale, www.indielondon.co.uk.

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• Well, the first thing I had to do was to read a lot. First of all, about education... and looking at education from the Middle Ages right through to the 20th Century. The second major area was country life in the 19th Century, which I don't know much about these days.

  Michael Haneke

  Country, Age, Firsts

  Interview with Rob Carnevale, www.indielondon.co.uk.

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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.

  Michael Haneke

  Years, Principles, Different

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• A strict form such as mine cannot be achieved through improvisation.

  Michael Haneke

  Form, Strict, Improvisation

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• Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.

  Michael Haneke

  Awards, Important, Directors

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• There is just as much evil in all of us as there is good. We're all continuously guilty, even if we're not doing it intentionally to be evil. Here we are sitting in luxury hotels, living it up on the the backs of others in the third world. We all have a guilty conscience, but we do very little about it.

  Michael Haneke

  Luxury Hotels, Evil, Sitting

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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.

  Michael Haneke

  Thinking, Excellence, Directors

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• You'll see more violence in any television crime series than you will in my films Art is there to have a stimulating effect, if it earns its name. You have to be honest, that's the only thing.

  Michael Haneke

  Art, Names, Violence

  "Michael Haneke: 'There is as much evil in us as there is good'". Interview With Elizabeth Day, www.theguardian.com. October 24, 2009.

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• Of course, we avoid death. To know something is inevitable is one thing. To accept, to truly feel it... that's different.

  Michael Haneke

  Different, Accepting, Inevitable

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• As a private person, professionally I am invisible.

  Michael Haneke

  Invisible, Persons

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• Because I'm the author of my screenplays I know what I'm looking for. It's true that I can be stubborn in demanding that I get what I want, but it's also a question of working with patience and love.

  Michael Haneke

  Patience, And Love, Stubborn

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• My father and I had a good relationship, it was very relaxed. He had a lot of humour. He looked a little bit like me, although he had no beard. He had the appearance of a very elegant British-looking man.

  Michael Haneke

  Father, Men, Good Relationship

  "Michael Haneke: 'There is as much evil in us as there is good'". Interview With Elizabeth Day, www.theguardian.com. October 24, 2009.

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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.

  Michael Haneke

  Details, Nuance, Emotion

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• For me, it's always difficult when a historical film claims to depict or represent a reality that none of us can know, that is always different. It's always the case. We never know what happened then. So my approach with the narrator is to question that, to leave that open, to underline the fact that this is uncertain.

  Michael Haneke

  Reality, Historical, Different

  Source: film.avclub.com

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• In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.

  Michael Haneke

  Unexpected Gifts, Cinema, Actors

  "Michael Haneke Talks AMOUR, His Inspiration for the Film, His Casting Decisions, Physical and Emotional Demands of the Film and Shooting the Film in French". Interview with Sheila Roberts, collider.com. December 14, 2012.

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• Usually, when making a film, the surprises are negative surprises. You don't get what you wanted or what you hoped for. The only nice surprises are those that are offered to you by actors when they offer you these gifts, when they are better and give you more than what you had originally conceived. That doesn't happen every day on set, but if it happens a couple of times in the course of making a film, you can consider yourself very lucky.

  Michael Haneke

  Couple, Nice, Giving

  "Michael Haneke Talks AMOUR, His Inspiration for the Film, His Casting Decisions, Physical and Emotional Demands of the Film and Shooting the Film in French". Interview with Sheila Roberts, collider.com. December 14, 2012.

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• The trouble is that when you read criticisms about the other films that I've made you get the impression that they're all about themes, or problems, or ideas. But those are actually things that develop out of characters, out of images and out of other things. These more abstract things develop while working on the material, and out of it. It's not a theoretical exercise from the outset.

  Michael Haneke

  Character, Exercise, Ideas

  Interview with Rob Carnevale, www.indielondon.co.uk.

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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.

  Michael Haneke

  Writing, Dark, Artist

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• The film [the white Ribbon] does try to use German Fascism as an example, but not specifically Fascism... the results of German Fascism. It shows how people are prepared or indoctrinated for an ideology... people who are already in a state of repression who have been humiliated by society and who clasp at a straw that's offered to them. And how that's then developed into a form of indoctrination.

  Michael Haneke

  White, People, Trying

  "The White Ribbon - Michael Haneke interview". Interview with Rob Carnevale, www.indielondon.co.uk.

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• If a director says he doesn't care how many people see his films at all, I simply don't believe him. Otherwise why would he bother to make the film? The only explanation would be that it would be an act of masturbation. I think that every creator is looking for a receptor. He's looking for an audience. There are two parts of the equation: a creator and, necessarily, the receiver of the work. It's the same thing for a painter who wants his paintings to be seen.

  Michael Haneke

  Believe, Thinking, Two

  Interview with Sam Adams, www.avclub.com. December 30, 2009.

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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.

  Michael Haneke

  People, Needs, Broads

  Interview with Sam Adams, www.avclub.com. December 30, 2009.

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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.

  Michael Haneke

  Perspective, Laziness, Disease

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