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David Poland

By David Poland poland@moviecitynews.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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“I wanted to make you love a murderer. There’s no way of redeeming him. He’s a drunk and a killer. He killed at least seven people (that we know of). But there were reasons he was a bad guy. He was surrounded by evil in those days. A lot of people were killed building modern Florida—modern everywhere. Watson had plenty of opportunities to see how rough those guys were playing and he thought he could do it too. At least he rationalized it that way. He had the devil beaten out of him and became a very dangerous guy. And he couldn’t handle his liquor, which is one of the worst aspects of him. And he went crazy. Understanding how that happened is useful, I think. There’s no reason any one of us couldn’t be Edgar Watson.”
~ Peter Mathiessen On Writing “Killing Mister Watson”

 

“Objects and their manufacture are inseparable, you understand a product if you understand how it’s made.”
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