That he was a Pedant, says Michael Haneke, surprisingly candidly about himself – or, he, once again, obsessively in dealing with things. Then he leads with an example of what love has beyond his order. For the aesthetic statement of a film about, it is crucial whether a glass of Water to stand here or there. He could break when Turning for hours to the head. And to prove the assertion, he places the glass on the round table at which he sits to his book “imagining The rotation of books,” from here to there. From here to there? You have to look very closely to detect any change.
editor in the features section.
F. A. Z.
It is the view of such nuances, the smallest of Details, to ambivalence, which you can obtain in the seemingly extraneous monstrous size, the characteristic is for him and for his films. From a rain drop, the herabperlt to a Window, it would be the whole of the poet’s studies of the Austrian film-maker to develop. Thirteen of the cinema books in thirty years, the seventy-six year-old wrote of rotation, including such well-known works such as “Benny’s Video”, “The white ribbon” or “love”, for which he was awarded with the Oscar. Well, he came to the German Premiere of his book, published in the publishing house Hoffmann and Campe, to the film Museum in Frankfurt.
It is a book like a brick, more than a thousand three-hundred pages. Suitable to dark Cover with Haneke’s portrait he appears to be black in black. Nevertheless, he sits happily on the stage and speaks to the servants of Vienna, which is in stark contrast to the oppressive Rigor of his films, the violence and human powerlessness from ever new angles to explore. Not coincidentally, an early series of Haneke’s “trilogy of emotional glaciation”.
A perfectionist about the perfection loss
Who takes the pound book, and asks: Is that even possible? Screenplays book are capable, therefore, of a Form, is made out, or they come as a manual for the contributors not only by the implementation? On Michael Haneke’s screenplays, the Latter is not the case. They are readable, not only in terms of the movies. Rather, they have their own distinctive sound, even if the author says that the perfection of a script is lost, as soon as you start the Turn. However, the Variation of the silence, for in these texts, from dialogues, stage directions and scene descriptions are the most diverse expressions, are reminiscent of a score.
like the stage direction “silence” in the pieces of Ödön von Horváth’s the wordless sequence is an expression of the fact that the people with your talk. The existential crisis, the more they become silent. Since then “silence” or “Pause”, but also “small Pause”, “Pause”, “Pause”, “Silence”, and sometimes there are only three points. Arbitrarily, this is what is meant in the case of Haneke never, but corresponds to an inner Timing. The actor must implement it later, exactly as Haneke wants it. And again and again we hear about him is that he is with his actors, sometimes relentlessly rings until you pronounce the sentence in the way he has him Write in the ear. Improvisation is excluded. Also, the texts witness. His students are Haneke, therefore, even the Council, to be not a writer, “unless you have a masochistic vein”. Because: “you will never see the movie you have written.”
the Interesting thing about the scripts is how Haneke summarizes those moments of his films in words, in which people talk about at the rear edge of the image that the audience understands you. This may be the key dialogues, as in “Caché” or “Happy ending”, in which answers to pressing questions might stick, but you only see how people gesticulate. What he could omit, says Haneke in Frankfurt, that’s why it is always him Write out and Turn actually. Any Form of Disambiguation was a horror to him, and will be running in his movies.