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Michael Haneke

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Michael Haneke

0 members

What's driving coverage of Michael Haneke right now?

🎬 Filmography

Screen catalogue →

Happy End

2017 · Director

Amour

2012 · Director

The White Ribbon

2009 · Director

Funny Games

2008 · Director

Caché

2005 · Director

The Piano Teacher

2001 · Director

Code Unknown

2000 · Director

Funny Games

1997 · Director

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Michael Haneke across IJR

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Michael HanekeThe Austrian film director with nowhere else to be today.

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Overview

Michael Haneke (; born 23 March 1942) is an Austrian film director and screenwriter. His work often examines social issues and depicts the feelings of estrangement experienced by individuals in modern society. Haneke has made films in French, German, and English and has worked in television and theatre, as well as cinema. He also teaches film direction at the Film Academy Vienna. Haneke is known for his political and social satire trilogy The Seventh Continent (1989), Benny's Video (1992), and 71 Fragments of a Chronology of Chance (1994). He has since won the Cannes Film Festival's Grand Prix for The Piano Teacher (2001) as well as its twice for The White Ribbon (2009), and Amour (2012), the later of which received five Academy Award nominations and won the Academy Award for Best International Feature Film. He is also known for directing Funny Games (1997), Code Unknown (2000), Caché (2005), and Happy End (2017). Early life and education Haneke is the son of German actor and director Fritz Haneke and Austrian actress . His stepfather, the composer , had later married the mother of actor Christoph Waltz. Haneke was raised in the city of Wiener Neustadt, Austria. Haneke showed a strong interest in literature and music, but as an adolescent developed a "downright contempt for any form of school". During this period of his life, he has later described himself as a "rebel". He had ambitions of becoming an actor in his youth, later abandoning these plans after failing an entrance examination at the Max Reinhardt Seminar in Vienna. He later attended the University of Vienna to study philosophy, psychology and drama. Not a committed student, he would spend most of his time attending local movie theatres. After leaving university, he began working odd jobs, before working as an editor and dramaturge at the southwestern German television station Südwestfunk from 1967 to 1970, a time during which he also worked as a film critic. He made his debut as a television director in 1974.

From Wikipedia (CC BY-SA 4.0).

Notable quotes

“I know very well the sorts of pressures you're under in television. I don't work in television anymore myself, but I'm constantly hearing from colleagues who present scripts to networks and are told, "The script is too complex. You have to keep it simple because the audience is dumb. You can make more money for the advertisers that way."”
— as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51
“Film is an artificial construct. It pretends to reconstruct reality. But it doesn't do that—it's a manipulative form. It's a lie that can reveal the truth. But if a film isn't a work of art, it's just complicit with the process of manipulation.”
— as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51
“All of my films constitute a reaction against mainstream cinema. Every serious form of art sees the receiver as a partner in the undertaking. In fact, that's one of the preconditions of humanistic thought. In cinema, this fact, which should be self-evident, has been overlooked and replaced by an emphasis on the commercial aspects of the medium.”
— In response to the question, "You're well known for not wanting to impose interpretations on your films. Is this because you believe that audiences have become accustomed to being spoon-fed and told what to think?"
“My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.”
— From "Film as catharsis". Haneke, Michael – "": in Austria (in)felix: zum österreichischem Film der 80er Jahre – Bono, Francesco (ed.), 1992.
“I do think that our perception of reality is fragmentary, and in 20th-century literature, it's totally normal to not describe reality as something whole and completely transportable and explicable. That's been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable.”
— Lawrence, Chua. "Michael Haneke", BOMB Magazine, Summer, 2002. Retrieved 29 July 2011.
“Consider the pigeon just a pigeon...There are lots of pigeons in Paris.”
— On the meaning of pigeons in his movies, "Michael Haneke talks about Amour , interview by Karin Schiefer, Austrian Film Commission, May 2012

Quotes via Wikiquote (CC BY-SA), each with its original source.

Overview

Michael Haneke (; born 23 March 1942) is an Austrian film director and screenwriter. His work often examines social issues and depicts the feelings of estrangement experienced by individuals in modern society. Haneke has made films in French, German, and English and has worked in television and theatre, as well as cinema. He also teaches film direction at the Film Academy Vienna. Haneke is known for his political and social satire trilogy The Seventh Continent (1989), Benny's Video (1992), and 71 Fragments of a Chronology of Chance (1994). He has since won the Cannes Film Festival's Grand Prix for The Piano Teacher (2001) as well as its twice for The White Ribbon (2009), and Amour (2012), the later of which received five Academy Award nominations and won the Academy Award for Best International Feature Film. He is also known for directing Funny Games (1997), Code Unknown (2000), Caché (2005), and Happy End (2017). Early life and education Haneke is the son of German actor and director Fritz Haneke and Austrian actress . His stepfather, the composer , had later married the mother of actor Christoph Waltz. Haneke was raised in the city of Wiener Neustadt, Austria. Haneke showed a strong interest in literature and music, but as an adolescent developed a "downright contempt for any form of school". During this period of his life, he has later described himself as a "rebel". He had ambitions of becoming an actor in his youth, later abandoning these plans after failing an entrance examination at the Max Reinhardt Seminar in Vienna. He later attended the University of Vienna to study philosophy, psychology and drama. Not a committed student, he would spend most of his time attending local movie theatres. After leaving university, he began working odd jobs, before working as an editor and dramaturge at the southwestern German television station Südwestfunk from 1967 to 1970, a time during which he also worked as a film critic. He made his debut as a television director in 1974.

From Wikipedia (CC BY-SA 4.0).

Michael Haneke (; born 23 March 1942) is an Austrian film director and screenwriter. His work often examines social issues and depicts the feelings of estrangement experienced by individuals in modern society. Haneke has made films in French, German, and English and has worked in television and theatre, as well as cinema. He also teaches film direction at the Film Academy Vienna.

Michael Haneke across IJR

Studio characters

Michael HanekeThe Austrian film director with nowhere else to be today.

Ask Genius about Michael Haneke Create in Studio Build a game Watch videos

🎬 Filmography

Screen catalogue →

Happy End

2017 · Director

Amour

2012 · Director

The White Ribbon

2009 · Director

Funny Games

2008 · Director

Caché

2005 · Director

The Piano Teacher

2001 · Director

Code Unknown

2000 · Director

Funny Games

1997 · Director

Notable quotes

“I know very well the sorts of pressures you're under in television. I don't work in television anymore myself, but I'm constantly hearing from colleagues who present scripts to networks and are told, "The script is too complex. You have to keep it simple because the audience is dumb. You can make more money for the advertisers that way."”
— as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51
“Film is an artificial construct. It pretends to reconstruct reality. But it doesn't do that—it's a manipulative form. It's a lie that can reveal the truth. But if a film isn't a work of art, it's just complicit with the process of manipulation.”
— as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51
“All of my films constitute a reaction against mainstream cinema. Every serious form of art sees the receiver as a partner in the undertaking. In fact, that's one of the preconditions of humanistic thought. In cinema, this fact, which should be self-evident, has been overlooked and replaced by an emphasis on the commercial aspects of the medium.”
— In response to the question, "You're well known for not wanting to impose interpretations on your films. Is this because you believe that audiences have become accustomed to being spoon-fed and told what to think?"
“My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.”
— From "Film as catharsis". Haneke, Michael – "": in Austria (in)felix: zum österreichischem Film der 80er Jahre – Bono, Francesco (ed.), 1992.
“I do think that our perception of reality is fragmentary, and in 20th-century literature, it's totally normal to not describe reality as something whole and completely transportable and explicable. That's been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable.”
— Lawrence, Chua. "Michael Haneke", BOMB Magazine, Summer, 2002. Retrieved 29 July 2011.
“Consider the pigeon just a pigeon...There are lots of pigeons in Paris.”
— On the meaning of pigeons in his movies, "Michael Haneke talks about Amour , interview by Karin Schiefer, Austrian Film Commission, May 2012

Quotes via Wikiquote (CC BY-SA), each with its original source.