A Quote by Michael Haneke

A feature film is twenty-four lies per second. — © Michael Haneke
A feature film is twenty-four lies per second.
Film is lies at twenty-four frames a second.
Photography is truth. The cinema is truth twenty-four times per second.
In 1860, sixty-three per cent of the couples married in Great Britain had families of four or more children; in 1925 only twenty per cent had more than four.
Film is 24 lies per second at the service of truth, or at the service of the attempt to find the truth.
Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness.
Here in the United States we're now consuming about three gallons of petroleum per person per day. That's twenty pounds of oil per person per day. We only consume about four pounds of oxygen per person per day. We're consuming five times more oil each day, here in the United States than we are oxygen. We've become the oil tribe.
We've always had a roadmap to feature filmmaking, and making a feature film could have been three or four years away for us. But crowdfunding helped us get there in a year, and it allowed us to take a much bigger step.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
And you can put your total energy for the inner eye. The outside eyes are wasting eighty percent of energy - it is the major part. Man has five senses, eighty per cent is taken away by the eyes and only twenty per cent is left for the other four senses. They are very poor people, those four. Eyes are very rich, they have monopolised the whole thing; hence it is good - eighty per cent energy is saved - and that can be immediately used for witnessing, for seeing your inner world. hence in the East we call a person who is blind 'pragyanshakshu' - this word is untranslatable.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
Usually, I'll drop twenty to forty per cent of the dialogue - you can do so much with gesture. I'm still waiting to do a silent film.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
I did the original Robotron game back in 1982. To me it's still one of the classic 2D games as far as action and decisions per second, and kills per second, and explosions per second. It's super-frenetic and totally involving. There's been a lot of games since, a lot of Robotron sequels. A lot of them haven't even captured the magic of Robotron, much less moving things forward.
People hurried past, the others of the street, endless anonymous, twenty-one lives per second, race-walking in their faces and pigments, sprays of fleetest being.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
After you've done the first feature, then you have heck of a difficult time getting your second film off the ground. They look at your first film and they say, "Oh well, we don't want you anymore."
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