Frases de Michael Haneke (14 citas)

Michael Haneke: 14 frases 0 Me gusta

Frases célebres de Michael Haneke

“El arte debe hacer preguntas y no avanzar respuestas, que siempre me parecen sospechosas, incluso peligrosas.”

Michael Haneke

Fuente: Revista FilaSiete, nº119, pág. 11

“El cine más interesante de hoy día viene del tercer mundo, porque esa gente tiene algo por lo que luchar. Nosotros no hacemos más que describir permanentemente el asco que sentimos de nosotros mismos.”

Michael Haneke

Fuente: El miedo es el sentimiento más profundo http://www.lavanguardia.es/cultura/noticias/20100115/53871175703/michael-haneke-las-guerras-del-dia-a-dia-conducen-a-grandes-guerras-alemania-oscar-primera-guerra-mu.html, entrevista por Christoph Ehlers.

“Encuentro que las películas de hoy en día son cada vez más planas, más banales y al espectador le tratan como si fuera tonto y con esta película intento protestar contra eso. Quiero que me tomen en serio como espectador y cuando hago una película intento pensar en mi espectador como una persona inteligente, no tonto, eso es todo.”

Michael Haneke

Refiriéndose a su película Funny Games.
Fuente: Celuloideydvd http://www.celuloideydvd.es/?p=616

“Nosotros no percibimos ya la realidad, sino, en su lugar, la representación televisiva de la realidad. Nuestro horizonte de experiencias es muy limitado. Lo que sabemos del mundo es poco más que el mundo mediático, la imagen. No tenemos realidad, sino un derivado de la realidad.”

Michael Haneke

Fuente: Pulp Movies http://www.pulpmovies.org/entrevistas/haneke.html

“Todo el que infringe la corriente principal de pensamiento, y no me refiero sólo al cine, generalmente es provocativo. Cualquiera que sea la antítesis a la norma y a la forma convencional, se le llama obsceno y provocativo. Así que espero que todas mis películas sean obscenas y provocativas.”

Michael Haneke

Fuente: Celuloideydvd http://www.celuloideydvd.es/?p=616

Michael Haneke: Frases en inglés

“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.”

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Michael Haneke

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?"
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

“Today's conventional cinema, or mass cinema, doesn't take the receiver seriously as a partner. It sees the audience member as a bank machine, whose only function is to spit out money.”

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Michael Haneke

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.”

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Michael Haneke

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

“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."”

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Michael Haneke

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

“Consider the pigeon just a pigeon...There are lots of pigeons in Paris.”

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Michael Haneke

On the meaning of pigeons in his movies, "Michael Haneke talks about Amour http://www.afc.at/jart/prj3/afc/main.jart?content-id=1164272180506&artikel_id=1332442011817 16 January 2014 https://web.archive.org/web/20140116073823/http://www.afc.at/jart/prj3/afc/main.jart?content-id=1164272180506&artikel_id=1332442011817,, interview by Karin Schiefer, Austrian Film Commission, May 2012

“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.”

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Michael Haneke

Lawrence, Chua. "Michael Haneke" http://bombsite.com/issues/80/articles/2489, BOMB Magazine, Summer, 2002. Retrieved 29 July 2011.

“Film is 24 lies per second at the service of truth, or at the service of the attempt to find the truth.”

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Michael Haneke

[Ignoramous, Lamos, Watch "24 Realities Per Second" Michael Haneke Documentary, http://filmslie.com/24-realities-per-second-michael-haneke-documentary/, FilmsLie.com, 10 August 2016]

“Pornography, it seems to me, is no different from war films or propaganda films in that it tries to make the visceral, horrific, or transgressive elements of life consumable. Propaganda is far more pornographic than a home video of two people fucking.”

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Michael Haneke

[Christopher Sharrett, http://www.kinoeye.org/04/01/interview01.php, Austrian film: Michael Haneke interviewed, Kinoeye, 20 September 2011]

“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.”

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Michael Haneke

From "Film as catharsis". Haneke, Michael – "Film als Katharsis": in Austria (in)felix: zum österreichischem Film der 80er Jahre – Bono, Francesco (ed.), 1992. ISBN 3-901272-00-3