A Quote by Michael Haneke
In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.
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I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
I connect much more with theatre actors than with cinema actors - insofar as you can speak of 'cinema actors' in Mexico, because there isn't a big film industry.
Usually, when making a film, the surprises are negative surprises. You don't get what you wanted or what you hoped for. The only nice surprises are those that are offered to you by actors when they offer you these gifts, when they are better and give you more than what you had originally conceived. That doesn't happen every day on set, but if it happens a couple of times in the course of making a film, you can consider yourself very lucky.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
I always had this huge respect for American filmmakers and American actors. I always had this very strong love and respect for the American cinema. I always knew that I was going to leave Sweden.
Howard Hughes innovation was in the aviation field. His designs and spirit of experimentation was at the forefront. As far as his work as film producer, he certainly went after a bigger and more ambitious kind of filmmaking, even if he wasn't necessarily a cinema artist.
I was a film student. I became an actor but I thought I'd be pursuing filmmaking originally.
I was a film student. I became an actor, but I thought I'd be pursuing filmmaking originally.
'Tis blessed to bestow, and yet,
Could we bestow the gifts we get,
And keep the ones we give away,
How happy were our Christmas day!
For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.
I would always slip away to the cinema. I always found something absolutely extraordinary about the fact that these actors were always kind of kicking hard at some new dimension they were doing on film.
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