Michael Haneke (Munich, 1942) has pursued for years thick shadow of coldness, emotional distance he also defended in his cinema Ingmar Bergman. "He's a great director. Although I don't know, I don't see parallelism. If you think so... "Replies Austrian. It is difficult to interview Austrian, winner of two Golden Palms for White ribbon and love, and Oscar for latter, creator of works ruthless, icy, painful. In person director laughs, makes jokes, but does not like to talk about his films. "In today's cinema we tend to explain everything, on screen and out of it. That bores me, "he says to a group of five European journalists at Festival de Cannes, where Happy End was presented. Dialectic fencing will end up winning Haneke, although along way leave some crumbs of information.More information
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Haneke speaks English and French, but refuses to use m before press. "Understand me, I want to be picky with my words, let me use my german mor." It will end up being explained in French as well. The son of a German actor and an Austrian actress, he did not see much of his far during his childhood and adolescence, although he ended up directing him in a play. In book Haneke by Haneke (Editorial Mono Libre), recently published, tells that he started at ater by chance: "I rode my first work thanks to my girlfriend n. She was an actress, complaining about directions of her stage director; I proposed to help her prepare works, she refused because I was only an amateur, and I insisted until she ended up ignoring me. " For decades, Haneke enjoyed combining atre and television, and did not feel need to jump to cinema. "I didn't want to go crazy looking for funding. I am Austrian, and if I do now big movies is because most of money from my budgets goes from France... and because fortnight of filmmakers premiered my first long, seventh continent, in 1989. I was lucky: y were looking for Austrian films and I was re, "he reminisces before press. "But please don't ask me any more about my biography. When I see a movie I'm not interested in director's life; And in my case perhaps only film subject related to my experiences is fear and rejection of violence. "The Melomanía as a vital engine
When I was a kid, Michael Haneke received piano lessons. "Lo Aborrecí", he recalls in book Haneke by Haneke. "Until one day of All Saints I was left alone at home and I heard in radio Messiah, of Handel. It was a revelation. "
From that moment on he became a Melómano, coming to lead several operas. After knowing that journalist is Spanish and that he saw his Così fan tutte, of Mozart, in Teatro Real — something he celebrates with curious jubilation and phrase "shame", says: "This process of opera management arose from my love for some of works of Mozart and my friendship with Gerard Mortier. It really hurt her death. I'm not going back to opera. My staging is realistic and that fits very few operas. Even less about Mozart. I love classical music, every day I spend some time listening to it, but that management job is over. "
Haneke lies. And he recognizes it. In Happy End he delves into anor of his favorite reflections: his distrust of technological forms of communication and social networks. The screens have appeared since his second film, The Video of Benny (1992), as a disruptor element. Also audiovisual recordings. "In Happy End planes on mobile and on computer attract attention because y are important for narration. But don't ask me to comment. " The film starts with a teenager recording with her iPhone to her mor. "The story of Eve, that teenager, was already in script of Flashmob, my project frustrated precedent. I read in a newspaper an article about a girl who had poisoned her mor and who told process on Internet, "he recalls. It is hard to imagine Haneke, with his aspect of a strict Luran pastor, on Facebook and Twitter. "I don't have social networks, but I know what I'm talking about. I created an account to investigate m. Because of guilt or thanks to Internet we believe we have access to everything and know everything. We're addicted to pleasure. To false pleasure of consumption, of immediate communication. No one faces pain anymore, negative. Right, it's a recurring me in my career. "
Happy End portrays a family of high bourgeoisie in Calais. They continue with ir lives, with ir moral disquisitions and financial troubles in midst of a pressing migratory crisis. "The present is dreadful. The film is about us, about our blindness, about our social autism. It was impossible for me to do a job on immigration, because I am not an expert on subject. But I live in world, I read what happens, I learn from what surrounds me. As artists, that's what we need to talk about. " Although re is allowed a joke: "I've been making films of Claude Chabrol for 20 years." It returns to French and to migrants: "They are mirror that confirms my impression that we only think of ourselves. Hence title of film, which appears in a sentence at beginning. In Western Europe we live an absolutely privileged existence... and now we want to explain to or human beings that y cannot have access to our comforts? "
"An artist must deal with responsibility of reflecting present. Anor thing is if great artists are good people. Actually, most of m were assholes.
Do you really think an artist should focus on what surrounds him? "At least take it into account, deal with responsibility of reflecting it. I have a somewhat romantic feeling about how a creator should handle himself. Anor thing is if great artists are good people. Actually, most of m were assholes. You could see it backwards: art is born of bitter. The human being is a weak animal, so I admire those who sacrifice mselves for a beneficial ideal for society. " and smile. enigmatically, but smiles.Share in Facebook share on Twitter OtrosCerrarCompartir at LinkedinCompartir on GooglePlusCompartir on Pinterest