"On the whole, I work more with my ears than with my eyes. When I worked in the theater, I often looked down at my feet, and the actors often said, "You’re not looking at me, you’re not watching me."And I said, "Yes, but I can see you better this way."… You immediately hear whether a sound or an emotion is false, is artificial, and if you look with your eyes, you have to take in so many things, that it’s more difficult. So for me, it’s not always necessary to watch when we’re shooting, rather it’s important to listen in order to ascertain whether things are just right or not." 

— Michael Haneke on directing

Still from Amour (2012, dir. Michael Haneke)

Floral Collar from Tutankhamun’s Embalming Cache

Period: New Kingdom Dynasty: Dynasty 18 Reign: reign of Tutankhamun Date: ca. 1336–1327 B.C. Geography: Country of Origin Egypt, Upper Egypt; Thebes, Valley of the Kings, Embalming cache of Tutankhamun (KV 54), Davis/Ayrton 1907 Medium: Papyrus, olive leaves, persea leaves, cornflowers, blue lotus petals, Picris flowers, nightshade berries, faience, linen (The Metropolitan Museum of Art - Floral Collar from Tutankhamun’s Embalming Cache via)

"I don’t approach a film with an idea of making it about a certain theme. Personal experiences or figures or constellations of individuals are what interest me. Journalists have to condense these things and write about them in a catchy way, but that’s not how art works. Most catchy phrases are generalizations, because that’s the only way. The minute something can be described with a single term, it’s dead artistically. Nothing living is left, and there’s no reason to watch the film. That’s always the problem with an artistic statement and an article about it. When you watch a film without any prior knowledge, it’s much more contradictory and complex. Amour involves a thousand different things, and when I emphasize one of them, I reduce all the others.”

— Michael Haneke on his approach to filmmaking

Still from Amour (2012, dir. Michael Haneke)

"A script, even it differs from filmmaker to filmmaker, never tells the whole story; there are always elements that need to be invented. As soon as one decides to take a role after having read the script, the various elements begin to fall into place. A character begins to take shape. And regardless of whether the information given is ample or not, it appears to one, strangely, as an apparition. From that moment, one knows whether or not this figure will be able to pass through one; if there is a meeting point."

— Isabelle Huppert on why a script never tells the whole story

Still of Huppert in The Piano Teacher (2001, dir. Michael Haneke)