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By DP30 david@thehotbuttonl.com

DP/30: Amour, writer/director Michael Haneke (LA 2012)

Please see “DP/30 @ Cannes 2012: Amour, writer/director Michael Haneke” for more conversation specific to this movie.

This Interview interpreted by Robert Grey.

7 Responses to “DP/30: Amour, writer/director Michael Haneke (LA 2012)”

  1. Kevin says:

    Maybe next time you could treat Micheal with a little more respect, and ask him some decent questions?

  2. David Poland says:

    Perhaps you will give me a list…

  3. shank says:

    Watching this interview is so awkward..Bad silly questions..totally wasted the great man’s time

  4. scooterzz says:

    finally got around to watching this and must call bullshit on those first two comments…where exactly is the ‘disrespect’ and what questions would you two geniuses asked the ‘great man’? (really?…’great man’?…jeeze, fanboys can sometimes be such boors)…

  5. David Poland says:

    This attitude came up on the first Haneke interview too. Not sure what they want. Don’t much care. Haneke seemed engaged. That’s what I am after.

    It’s funny. I was quite intimidated the first time around with MH and with Olivier Assayas, The Dardennes, and a few others. Each time, it’s turned out that the director was far more down to earth and less up his/their own ass than I feared. So I remember pretty much every one of those with great pleasure.

    I had a pretty specific conversation about Amour with Haneke in Cannes and I’m not sure there was a ton more to say about that film. He is not terribly interested in self-dissection. So I did in this one what I do with many extremely talented people… I had a conversation as I might over dinner. I’m not saying it’s always great. But I don’t run into many people who are anxious to run as soon as the shoot is over. And MH and I did 10 minutes – that I wish I had on tape – on today’s indie film scene. He was not insulted or unhappy with the conversation. And that’s really my first goal. Then I pray that it is interesting for the viewers.

  6. Niall Maher says:

    David,

    What you do – I love.
    Your interviews give an insight into both the creative and the fiscal aspects of the film making process.Fantastic.

    Now David – the rub – PLEASE PLEASE have a bit of a chat with your camera crew.

    It’s below par, the constant re-framing suggest people justifying their existence.

    One good Mid – and THAT is a good interview.

    Sorry to leave a negative comment.

  7. Matt says:

    Thank you Niall, exactly what I was thinking:

    Great job David, but the camera is irritatingly distracting.

    Simplify please. One MID all the way.

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DP/30

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“Hitchcock films the story with a wide-eyed, astonished, fascinated, and disturbed camera stare that seems to shudder and tremble every time Hedren is onscreen. Even the director’s cameo—in which he watches Hedren walking down a hotel corridor and then turns back to look at the camera, shamefacedly caught in his own leer—suggests his self-aware sense of visual carnality. The images offer an extraordinary swing between blasts of heat and an eerie chill, sometimes bringing the two together. Even the film’s exterior locations have a fluorescent buzz that captures an ambient sense of derangement.”
~ Richard Brody on Marnie

 

“HBO’s investment in these outlets for criticism belies an approach that blends the show itself with discussion about the show to create an overarching viewer experience. It’s not just the plot that entertains, but also theorizing, exploring the world’s mythology, and more that has engaged book readers for decades — and those aspects are now part of what HBO is producing, not just something happening at whatever passes for a water cooler or comic book shop these days. Benioff, Weiss, and HBO are blending entertainment and criticism into one giant, all-encompassing amalgamation of content. Something as grandiose and, indeed, as stunning, as ‘Game of Thrones’ requires it.”
#Content: Expanding Entertainment, Collapsing CriticismBy Matt Hartman

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