Michael Haneke

Award won Role or nomination

1. 1942 age 0

   Born

2. 1997 age 55

   CreditFunny Gamesdirector

   CreditFunny Gamesscreenwriter

3. 2001 age 59

   CreditThe Piano Teacherdirector

   CreditThe Piano Teacherscreenwriter

4. 2005 age 63

   CreditCachédirector

   CreditCachéscreenwriter

5. 2009 age 67

   CreditThe White Ribbondirector

   CreditThe White Ribbonscreenwriter

6. 2012 age 70

   CreditAmourdirector

   CreditAmourscreenwriter

• VHVeit Heiduschka5 titles
• SLSusanne Lothar3 titles
• MMMargaret Menegoz3 titles
• MWMonika Willi3 titles
• SAStefan Arndt2 titles
• IHIsabelle Huppert2 titles
• WAWalid Afkir2 titles
• MKMichael Katz2 titles
• LCLisy Christl2 titles
• CBChristian Berger2 titles

• 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."

  Michael Haneke, CC BY-SA 4.0

• 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.

  Michael Haneke, CC BY-SA 4.0

• 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.

  Michael Haneke, CC BY-SA 4.0

• 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.

  Michael Haneke, CC BY-SA 4.0

• 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.

  Michael Haneke, CC BY-SA 4.0

• 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.

  Michael Haneke, CC BY-SA 4.0