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By DP30

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:


    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.


Quote Unquotesee all »

“Roger Ebert claimed that the re-editing of The Brown Bunny after Cannes allowed him a difference of opinion so vast that he first called it the worst film in history and eventually gave it a thumbs up. This is both far fetched and an outright lie. The truth is, unlike the many claims that the unfinished film that showed at Cannes was 24 minutes shorter than the finished film, it was only 8 minutes shorter. The running time I filled out on the Cannes submission form was arbitrary. The running time I chose was just a number I liked. I had no idea where in the process I would actually be when I needed to stop cutting to meet the screening deadline. So whatever running time was printed in the program, I promise you, was not the actual running time. And the cuts I made to finish the film after Cannes were not many. I shortened the opening race scene once I was able to do so digitally. After rewatching the last 4 minutes of the film over and over again, somewhere within those 4 minutes, I froze the picture and just ended the film there, cutting out everything after that point, which was about 3 minutes. Originally in the salt flats scene, the motorcycle returned from the white. I removed the return portion of that shot, which seemed too literal. And I cut a scene of me putting on a sweater. That’s pretty much it. Plus the usual frame here, frame there, final tweaks. If you didn’t like the unfinished film at Cannes, you didn’t like the finished film, and vice versa. Roger Ebert made up his story and his premise because after calling my film literally the worst film ever made, he eventually realized it was not in his best interest to be stuck with that mantra. Stuck with a brutal, dismissive review of a film that other, more serious critics eventually felt differently about. He also took attention away from what he actually did at the press screening. It is outrageous that a single critic disrupted a press screening for a film chosen in main competition at such a high profile festival and even more outrageous that Ebert was ever allowed into another screening at Cannes. His ranting, moaning and eventual loud singing happened within the first 20 minutes, completely disrupting and manipulating the press screening of my film. Afterwards, at the first public screening, booing, laughing and hissing started during the open credits, even before the first scene of the film. The public, who had heard and read rumors about the Ebert incident and about me personally, heckled from frame one and never stopped. To make things weirder, I got a record-setting standing ovation from the supporters of the film who were trying to show up the distractors who had been disrupting the film. It was not the cut nor the film itself that drew blood. It was something suspicious about me. Something offensive to certain ideologues.”
~ Vincent Gallo

“I think [technology has[ its made my life faster, it’s made the ability to succeed easier. But has that made my life better? Is it better now than it was in the eighties or seventies? I don’t think we are happier. Maybe because I’m 55, I really am asking these questions… I really want to do meaningful things! This is also the time that I really want to focus on directing. I think that I will act less and less. I’ve been doing it for 52 years. It’s a long time to do one thing and I feel like there are a lot of stories that I got out of my system that I don’t need to tell anymore. I don’t need to ever do The Accused again! That is never going to happen again! You hit these milestones as an actor, and then you say, ‘Now what? Now what do I have to say?'”
~ Jodie Foster