"Do you know the name of our film?" "No, does it have a title already?" "Yes." " Yes?" "And that would be?" "The film is called "24 Realities per Second. "" "Oh, I always say that film is 24 lies per second at the service of truth." "Or at the service of the attempt to find the truth." "I don't know what reality is either." "Or... we cut that, or we dig it out." "...was born in 1942." "After studying philosophy, he worked for a long time in television, until 1980." "He directed his first feature film in 1989." "That film is the wonderful "The Seventh Continent"." "Followed by "Benny's Video" and "71 Fragments of a Chronology of Chance", which all constitute a sort of trilogy, before making a breakthrough with "Funny Games" in 1997, which the spectators remember, because they were a character of the film." "Michael Haneke always works on the place of the spectator." "And also on the manipulation by media, of which he is both victim and perpetrator." "Then come "Code Inconnu" with Juliette Binoche, his first French film and" ""The Piano Teacher" with Isabelle Huppert." "And now "Time of the Wolf" again with Isabelle Huppert." "Obviously a wonderful casting." "He can tell you more about it himself, ladies and gentlemen" " Michael Haneke..." "I wish you a good technically good and mentally irritating projection." "That's all." "Thank you!" "That means 19 shots in all directions, if anything happens... it's impossible." "But where is the problem, why can't we handle this..." "Let us shoot the ruin from anywhere first, this burned down ruin, which is the scene in fact." "This thing just stands there and we still have other things to shoot in this film." "We shoot this and that, in two days the equipment will be removed and then..." "It's a new shooting day, it's not the same, so where is the problem?" "Right now I can only stick to our schedule..." "It's not valid anymore..." "The way it is now, the arrival in the barn is a week later..." "But Katz said..." "Yes, he can..." "I won't do that." "It might be funny for the production, but I can't scatter myself." "It is necessary to be able to go around, we'll shoot that later." "That's it." "Otherwise I'm handicapping myself, if I can't shoot this scene in a certain direction, I won't do that." "We'll find a solution in the schedule to make it later." "Could we dim the projection light a little bit?" "Is that possible?" "I don't know." "Because it is terribly bright." "Much, much too light, the copy." "...too strong?" " Yes, incredibly strong." "Yes, I've asked the gentleman, but he says it's impossible." "It's a totally new lamp." "We changed it this morning." "I'm afraid..." "it's obviously one of these copies..." "We've made several copies for the distribution." "And because there are bad projections, they've chosen an average, which I find horrible, because all things that should be really black, appear grey and ugly." "That destroys the atmosphere." "In this scene it's not so bad." "The darker scenes are later on." "When a scene is dark and the projection too strong, it becomes grey and ugly." "He walks with her like this, right?" "Then he shuts the door." " It works from there?" "That's important." "There, I'd like to be behind the door, so I'd rather be there, place a bed behind the door so as to throw her on it, right?" "If I take you like this... so, they enter here, there she'd fly straight to the back." "Now he wants her, she goes back, and now's slapping..." "Is relatively harmless, well, at least from the camera's point of view." "There we have him in front..." " Yes." "So, his legs, she's on the floor." "Next shot." "We're back there, on him, he looks down, goes down to her." "Paf, she flees, tries to crawl." "She's on the floor." "Wait." "We're on him, up here." " What is he doing?" "He goes down to her, kneels, because he slaps her again..." "No, no, we must go down..." "Let me try something..." "I was up there, we've got to get closer and then go down..." "Annoying, annoying..." "This is not how Haneke pictured it." " Why?" "Because I drew something where she the shot should be wider, although, it should be okay." "It is okay this way." "Well, he still doesn't have a head." "She's great, but he's completely headless." ""Give me a lot of slaps... to serve"." "Well, it has the advantage..." "We'll have to do it differently." "We won't go down with him, however tilt, so that she enters the frame more easily." "Hello." "Hello." " How do you do?" "The two ladies are making a documentary film on me." "I hope you don't mind." "Being filmed while taking photos?" "I don't know if I'm going to stand that." "No?" " Maybe a little, but not the whole time." "So, filming him the hole time..." "But they can film me?" " Sorry?" "But they can film me during it?" " Yes, why not, yes, yes..." "What about the interior?" "I don' know if it fits." "Let's try to hide as much of the style of the hotel as possible." "I know that your relationship with photographers is a little difficult." "No, I always say, I'm happy when it can be avoided." "Because I feel better behind the camera than in front of it." "Exactly like me!" "Now you've set me a trap." "It's the same with family photos." "As soon as people are aware of the camera, they're a little inhibited." "With this peculiar smile." "Do you think that's the way it is?" "But I see a great difference between a photo and a film camera." "People react in a completely different way." "They forget a film camera more easily than a photo camera." "Yes, that's true." "In film, you can always improve things." "Yes, there you have the possibility to give a more complete view of yourself." "It's been a couple of years that we've made a photo session." "Yes, for which film in Cannes was that?" "With "Benny's Video" or "71 Fragments"?" ""71 Fragments"." "That's my favorite film." "My favorite films are "The Seventh Continent", "71 Fragments" and "Code Inconnu"." "Yes, "Code Inconnu" too, I've forgotten that one." "But these three films were less successful." "That's normal." "Ok." "Not here?" "Why not?" "We can start here." "We're totally free." "In the middle or here?" "Right, we've got that right in front of us, that's a pity." "Not bad." "Yes, we could..." " Just to have a little bit more possibilities." "What should I do?" " What we do?" "Let's try a position." "No, try something that's comfortable for you." "Like this?" " Yes, try to turn yourself a little." "Let's try something asymmetric." "Exactly, that seems much better." "Look this way." "You've been going around saying that I tortured you?" "You've been going around saying that I tortured you?" "I always say that with a kind of admiration." "I say he was terrible, but the result great." "I didn't have the feeling of being horrible." "I felt miserable out there everybody was looking." "It was a torture." "You've got to come to my studio." "That's much simpler." " It's more peaceful there." "Stay like that." "Last shot." "It's true that your film is very gloomy." "The characters do not develop a lot of solidarity towards each other, that doesn't let you feel optimistic." "Yes, that might be a sign for my skepticism." "I totally reject the word pessimism because I think..." "Nietzsche already said that it is stupid to make a differentiate between optimism and pessimism, it leads to nowhere." "I think I'm a realist and if I ask myself a question here then I ask it to me personally, as I already mentioned." "It is a duty of art to fuel the skepticism towards oneself." "I don't know if what I want to say is clear, but is that an answer?" "Hello." "Do you want the headphones?" " No, it's ok." "Too many questions." "I have no answers." "Hello." "So, we will tell what the film is about." "But don't ask me to tell the story." "No, just explain two or three things." "Is the sound ok?" " Perfect." "Let's pretend we're in the studio." "Welcome Michael Haneke." "A preliminary question, do you hate secondary residence?" "Not at all." "Why?" "You look in their direction." "Attention we're shooting..." "You don't move at all, Jürgen." "Keep him in the centre." "Now he's in the centre." "Tape rolling." "Let's do it again slower." "You look, and imagine they are walking slower, that it takes more time." "As a child, I wanted to become a musician." "Sound has always been something very important for me." "What goes via sound moves me more than what goes via the eye." "I think the heart can be more easily reached via the ear than via the eye." "The eyes have become..." "The eyes have become a little blind, overfed with images." "Of course there is acoustic pollution, but it's less, and it can be cleansed with good music." "In case of the eyes, it's more difficult." "But the eyes can be closed." "That's true, they can be closed." "But we don't do it." "Curiosity is always great." "Eyes are the organs of curiosity." "When there are horrible scenes, Susie is always afraid." "No, that's not true..." "No, that's not true, if it's logical, if it's part of the story..." "I remember how you screamed in the middle of "Caché", when the guy..." "Yes, because it's a horrible image." "I can't stand, already while reading." "I have a great imagination and I can't stand this kind of thing." "Do you see images while reading a script?" " I see images." "You too, you certainly see images." " I don't see images." "You don't see images?" "Ah, that's very surprising, I didn't know..." "Rarely." "Of course, sometimes there are scenes, for which I think of images, for the sequence shots of "Code Inconnu"." "A sequence shot must be written." "You can't take a script and turn it into sequence shots, that doesn't work, you've got to know exactly how to get from A to B." "I'm mainly interested in the development of the characters and story." "Images come afterwards, during the scout for locations." "Good evening." "I'm here." "There's a scene in the film I found particularly shocking." "It's the rape scene and Eva's behavior." "Was that a choice of yours to show that she's about to grow up?" "That there is some sort of responsibility, maybe, she doesn't want to take?" "Actually I find her very cowardly because she doesn't do anything." "What could she have done?" " I don't know." "When I saw that scene I had the urge to scream, because there were so many people in the room." "But why didn't the others say something?" "There were 50 people around." "And nobody did anything." "Why?" "Why do you think that a child..." "What could she have done?" "Scream?" "Yes, I don't know." " Maybe, maybe." "Anyhow I found it very shocking." "I found it very shocking too." "No, I mean it seriously." "It is shocking, but I think, we are permanently closing our eyes, because we're unable to deal with problems we're confronted with." "That is our cowardice." "It's also a subject of the film." "Ok, thanks." "You've shot "Code Inconnu" in Paris." "Yes, I've done three months of research, I have made it mine, so to say." "Have the things you've experienced found their way into the film?" "In "Code Inconnu", everything that happens in the film, especially the things concerning Africans and Romanians, are things that I've seen or that I've been told." "There's nothing invented." "Sometimes reality is much more unbelievable than things you make up." "A lot of things you'd like to show in a film would seem ridiculous or unbelievable." "You've got to have a sort of instinct for what is believable and what isn't, but I like to be inspired by reality." "I think I'm quite a good "monteur", but not a great inventor." "We will turn the seat a little." "I don't want to..." "But I think it might be nicer here." "It's nicer here because the mirror gives it more space." "It's a little dead over there isn't it?" "No, but from here." " Not from there, from here." "No, what do you want to arrange?" "See you later, good bye." "Four minutes?" " About four minutes, unfortunately." "You'll cut out my hesitations, won't you?" "Don't worry." "Ok." "How did you get the idea for the film "Time of the Wolves"?" "That is a very difficult question, I wrote the film about 10 years ago, to be honest, I don't remember." "This is dreadful." "All these different foot mats." "We'll have to take them away." "It's long." "Or it continues." "Yes, but we don't want this." "Yes but that isn't bad." "When the film is finished, for me it's finished." "Then I don't think about it anymore, except in interviews." "No, I don't have an opinion concerning that." "Maybe in ten years I can tell you what position it has in my work." "I've made the film and my thoughts are now with a new project." "That's what I'm concentrating on, and not about this film anymore." "Are you only filming my hands, or what?" "No, not only the hands." "But I'm not an actor." " You're doing fine." "I'm a Romanian and also speak German, I just wanted to let you know." "Since there are a lot of Romanians in your films." "Thank you." "Have you seen the film?" "Me?" "No, not yet." "I would have liked to know how the romanian actors sound in the film." "Because I can't control how they speak." "They were partly actors, partly amateurs." "But was it improvised or was it a text?" "No, no, a written text translated into Romanian." "I had an interpreter, Romanian" " German, but I still want to know." "In a couple of days I'll be able to tell you." "Ah, very well." "I'm with Michael, I will tell him." "It's Marianne." "See you then." "Bye." "She's coming tomorrow with Daniel, Carax, Mireille Perrier, so the whole bunch." "I always told you to prepare a few things, so that we can choose between several photos." "Now we've got nearly nothing, except these two." "You've already showed them to me, there's nothing in there." "Those are historical photos, the film is at the present time." "There's nothing." "We need family photos, aged by the sun." "Careful, we're ready." "Everyone stays where he is." "Rolling..." "Do we have something to make a little wind?" "Ok, let's do it again." "Let me see if it does something." "No?" "Like this maybe?" "Would you like to?" "Regularly?" "Orjust once?" "Yes, like that once, and then from time to time, a little..." "Ok, we're ready." "Roll the camera..." " Rolling." "A little less now... so that it doesn't move always... once again." "20 seconds." " That's ok." "Closer now." "Careful, ready to shoot." "When does the fly come into the frame?" "That would be cool." "Come on little fly, cross the frame." "Twenty." " It's ok." "The earliest memory I have of a film is seeing Hamlet with Laurence Olivier." "I went with my grandmother, I was a kid of about four or five." "I'm not sure if I remember it, or if my grandmother told me later." "You know the film, the beginning is very dark, in black and white, with a castle on which waves break and dramatic music." "Two minutes later my grandmother had to leave the cinema, because I was screaming of fear." "That was my first cinema experience." "My second cinema memory was later, when I was six." "After the war scandinavian countries had a program for austrian children, to pep them up with danish butter..." "I was three months in Denmark where I was very unhappy, being far from home for the first time, is not easy for a child." "My hosts were very kind, to entertain me they took me to the cinema." "I still remember it, a film in the african savannah with rhinoceros and all the other animals." "The camera was in a car filming all the animals." "I was in heaven." "Suddenly the film was over, the curtain closed, there was a door left to screen." "The door lead outside, I can still see it." "Outside it was raining and snowing." "I couldn't believe how fast I was back from Africa in horrible Denmark." "I didn't understand a thing." "I came to understand the power of illusion of images, because I didn't grow up with it." "A child that grows up with images can't have a similar experience." "The third element is a film I saw as a student, "Tom Jones" by Tony Richardson." "I don't know if it's familiar to you, it's an adaptation of Henry Fieldings famous novel." "It is a story of a young man's career, like in these english novels of the 18th century." "A famous english actor plays Tom Jones." "I don't remember his name." "It is an opulent and sensual film." "There was a chase with wild editing, they run after him, in the middle of the chase he stops, looks into the camera and says:" ""I hope they don't get me" and continues running." "This break of illusion after an hour of film was such a shock, it completely dispelled my illusion." "It allowed me to understand illusion intellectually." "This film played with illusion in a very clever way and the sum of these impressions nurtured my distrust of manipulation." "You know them theoretically, as Leni Riefenstahl's or the Nazi films show, or any political film does." "To know it theoretically is one thing, to experience it another." "These experiences allowed me to realize sensually, existentially." "Stop!" "A little less drive, gentlemen." " Less drive and slowly." "Stop!" "That's ok." "I really think it's enough if she does that..." "Afterwards, when the others are gone, when she doesn't feel observed." "Where do I do that?" "Up there?" " No, no..." "Ok, I step down." " From up there we wouldn't see it." "Where is the camera?" " In there." "That's a little awkward, but it will do." "As you want." "I'll have to see." "He goes first." " I'll jump." "Jump?" "Well, if you can." "Exactly!" "It's not difficult." "You'll first see his legs, and then he jumps, it's beautiful when you step down, because you'll enter the frame." "It will come as a surprise that she was with him." "Don't put too much oil, she'll sit there." "Attention, we're shooting." "He must tell her when she cries..." "What?" " She can look when she cries... now she's calmed down." "Jens, tell her that when she cries she can look at us, and when she doesn't, she can look away so we don't see she's not crying." "Ok, are we ready?" "Jürgen?" "Action." "Ok, thanks." "Ok, let's do it again!" "Don't touch him." "It's too much if you fall." "At the beginning you can be angry, but when he closes the door, you start imploring." "At the beginning you can just..." "but don't touch him." "So I don't look at him?" "No, that'd be too fast." " Ok, I concentrate on me." "I can't understand how he can calm the child with stories of Cockaigne, meaning roasted pigeons that fly in your mouth." "Isn't he mystifying reality by doing that while a very hard reality is presented throughout the whole film?" "You can interpret it as a kind of hope." "The man says to the boy:" "the only thing that counts is that you tried." "It doesn't matter if you did it, but that you tried." "On the other hand you could say, this whole story with people going through fire is told by a guy who doesn't look trustworthy." "He is a little dubious, like the woman who tells the story of the 36 self-righteous." "She is a little mad too." "So you can interpret it as you want." "If you interpret it very realistically, you'll probably say, the guy wants to comfort the boy, that's why he tells him anything." "And if you want to see it differently, you can see it differently." "The decision of what you want to see is really yours." "Otherwise it becomes an advice, and I have no advice to give." "Meriline and Florence, you're with them..." "The bag isn't there of course, he took it already." "Yes, they're not in there." "Wait a moment." "Luca, a little to the right." "Stop." "Exactly!" "Then we're over there, that's there... ok." "Roll the tape!" " 472 the 28th." "That's very mediocre." "What?" " But only there." "But it's always there, at that moment." "We must, wait... if we take the other one... she made a mistake." "Because "pas aprés" in the other one is good." "In the 24th, we saw before." "Let me see it again." "This sentence and the following... after "pas aprés"." "You want to see the "pas aprés", no, the one with the fucking?" "I want to see both, with the fucking and with the "pas aprés"." "Show it right here..." "Looks like a hesitation, no?" "At the beginning, she hesitates..." "No, the other one is better." "We'll never get the one we want, never." "We're doing it one last time hoping it works, because after "pas aprés" it's ok." "But the crucial sentence, the one with the fucking, we don't have it." "Nowhere, it's always mediocre..." "When you write, you invent with all the nuances and much of it is lost during shooting." "Making a film is always a reduction when you're the author as in my case," "I can't generalize." "What I can do as a director is usually less than what I imagined as an author." "Sometimes actors can improve things, if an actor is very good, he can better than what I had imagined." "Those are the fortunate moments one has." "But generally it's unsatisfying." "My father, who was a theatre director, told me a long time ago:" "you imagined, you can be happy." "And you rarely have that." "Have you learned a lot from your father?" "No." "I didn't grow up with him." "I've seen him once or twice." "Our first prolonged contact was when I engaged him for a role." "He was an actor and director." "I was at the theatre in Baden-Baden." "He said something very funny:" ""My son is taking revenge for the authority I never exercised on him. "" "My mother was an actress, but I grew up with my aunt, apparently they wanted to keep me out of this profession." "But still you..." "Yes, that's obvious." "It's usually that way." "Either you become exactly the same, or if you have to become something..." "My aunt had a big farm and desperately wanted me to take it over." "Of course I didn't, that's the way it goes..." "Yes, the ants are ok." "We'll put them just before..." "How will you get them out?" "You can't put that soil on the sandwich." "If you want a trail, we'll put something invisible on the sandwich, honey or sugar..." "And then they'll go from there to the honey?" "I doubt it..." "No, I put them on it." "We just sweep them out and then..." "Because for the view downward, in the precipice, cockroaches would be ideal, grasshoppers would be strange..." "Michael, if you want them on the ground, they don't live for ever." "If you need them, tell us half a day in advance..." "What do you mean?" " You said they could be on the ground sometime..." " No, I meant now." "Now." "So what do we have?" "We have the sandwich." "The grasshoppers can go across the table." "We won't have the table, they can run around in a drawer at best." "Originally I had written... of a slug." " That doesn't fit at all." "No reason they'd come into such a dusty environment." "They rather go on plants." "What could there be on this sandwich?" " Nothing." "That means we need a carcass with something on it." "What kind of carcasses do we have?" " A cat." "It's mummified." "A carcass could also be..." "Sorry?" " You know these skulls with a little meat on them..." "But an isolated skull is silly." " Don't we have a chicken out there?" "Or a mouse." "We have a flattened mouse." "But it's mummified too." " Yes, but at least it still has some fur." "I think the only carcass that can be there, is a dead insect that other insects..." "How about taking the biggest grasshopper..." " Yes." "We kill it... put it on its back, open its belly a little and put small worms inside?" "Worms aren't any good." " Maggots." "Maggots." "We'd need a super-macro for that, it's a tiny picture." "There should be the insects you usually see." "Ants etc..." "But how do you collect them afterwards?" " We just leave them..." "That's good." "And there I'd..." "Wait, show me the close-up again." "Now we wait until he closes it." "We let him look a little longer." "This goes too fast." "Otherwise you think he's familiar with it." "He must be irritated." "No, longer, longer." "Two seconds more minimum." "This is too fast for me." "He should have it open a longer time." "Let's try the maximum." " That's it, exactly." "Very good." "Because it's appropriated to what happens." "You can permit yourself everything if the film turns out well." "At first everybody complains, what an asshole and how horrible, but if the film is successful, everything is forgotten." "On the contrary, if you make a film and everything is wonderful but the film is a failure, it's less likely you'll be hired again." "Those are the two extremes, but it's somewhere in between." "In normal life I'm quite shy." "I don't argue in shops for example, I don't care." "Not like Susie, who can get terribly angry." "For me, it's not worthwhile, there is no point in arguing." "But during work I'm ruthless, it's not that I think I have to be, itjust comes naturally." " Because it's so important." "I don't keep saying to myself "it's important", it comes naturally." "I want to see what I have in my head, anything else doesn't interest me." "It's sometimes a bit strenuous for the others, because my way of expression is a little rough when I'm impatient." "Of course some people are hurt." "But the next day it's forgotten, it's also part of the job." "This light bulb won't lighten him from the front, it will stay dark, like a silhouette..." "It will only give him a touch of light.." " A touch, that's fine." "The flame is a little annoying, is it in control?" "Or is it making difficulties?" "Ok." "Are you ready?" "Roll the tape." "Nothing is wrong." "No interpretation of a book or of a film is wrong." "Because if you feel that it is wrong, it means that something in the film signals it." "I always try not to answer this kind of questions." "Because my whole work consists in preserving a certain ambiguity allowing the spectator to find his own interpretation." "The moment I give my own interpretation it's counterproductive." "If I answer such a question I destroy my complete work." "Do you understand what I want to say?" "It's up to you to decide what it means."