Zitat des Tages von Michael Haneke:
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.
When I first envisioned 'Funny Games' in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.
'Funny Games' was conceived as a provocation. My other films are different. If people feel my other films are, or respond to them as provocation, then that's quite different. 'Funny Games' is the only one of mine where my intention was to provoke the audience.
I'm far more relaxed with German. I'm a control freak. I like to know exactly who's saying and doing what.
'The White Ribbon' had to be in German because of the subject matter, that was clear. But in the case of 'Amour,' it could have taken place in any country.
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.
It's harder to write a story with just two people in a room than with 50 characters.
And if there was one title that could be applied to all my films, it would be 'Civil War' - not civil war in the way we know it, but the daily war that goes on between us all.
What I like are films that take me seriously, that don't treat me as more stupid than I am.
All movies assault the viewer in one way or another.
Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. If we actually had those answers, then society would appear very different from what it is.
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.
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.
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.
I think it's a little simplistic to explain a work through the psychology of its author. In other words, that Haneke has emotional problems, so I don't have to take his films seriously. By using this argument, the viewer retreats from the challenges of the film.
Drama lives on conflict. If you're trying to deal with social issues seriously, there's no way of avoiding violence, which is so present in society.
I never suffered from the absence of a father. On the contrary, as a child I was more inclined to see men as a disturbing factor. It made things difficult for me when I started working as a director.
An artist is someone who should raise questions rather than give answers. I have no message.
When my first film 'The Seventh Continent' was presented here 12 years ago, non-Austrian spectators would come up to me and say, 'Is Austria that terrible?', whereas for me it wasn't about Austria but about highly industrialised cultures everywhere.
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.
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.
A feature film is twenty-four lies per second.
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.
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.
As a private person, professionally I am invisible.
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.