DID YOU READ

Michael Haneke Makes It Hurt So Good

Michael Haneke Makes It Hurt So Good (photo)

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I love black and white, and I use it every chance I can, but there were a number of technical difficulties. We had to start from scratch because no one has any experience working with it anymore. On top of that, we had to shoot using color film stock because black and white stock isn’t sensitive enough to film by candlelight and gaslight. We shot in color, and then transferred it to digital. There was an incredible amount of work involved, but I think the results made it worth it. In terms of visual models, we used as references the photographs of August Sander, who was the photographer in Germany during this period.

Were you pressured by investors or distributors to shoot in color?

Of course. [laughs] Our co-financiers in television demanded that we provide them with a color print. They didn’t want to show the film in black and white. It was only after we won the Palme d’Or that they finally reneged on their demand.

At the New York Film Festival press conference last fall, you said that the old cursive subtitle below the title translates to “A German children’s tale,” but you left it untranslated because it made the film too specific to German audiences.

We say that, in Germany, the audiences should see the film as about Germany. Whereas in America, people should see the film as about America, and in France, people should see it as about France. That’s why we didn’t translate that subtitle. It was meant as an ironic nudge at the German audience. Interestingly, even in Germany, over half the spectators won’t be able to understand it because it’s written in an old form of handwriting that my grandmother used, but even my parents can’t read.

What about the other part of the subtitle. Did you think the tongue-in-cheekiness of “a children’s tale” couldn’t be appreciated in other cultures?

The title is always the last thing you determine about a film. There were a number of titles that we were playing with through the years while I was working on this script. Until we made that decision, the film was called “A Children’s Tale.” It’s not so ironic. In both German and English, the title has an ambiguous meaning. It could mean both a tale about children, and a tale for children.

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I like that the film is narrated after the fact by a minor character who only appears in the margins of the story.

For dramaturgical reasons, the teacher and the nanny Eva are the only people who come from outside. An external viewpoint allowed me an objectifying perspective.

Since he’s an unreliable narrator, you’re able to play with the ideas of memory and mythology, by depicting exchanges between characters that he’d never have been privy to.

That’s the narrative irony. It’s also present in the classic novels, where the novelist claims to describe things that there’s no way he or she could know. That’s why the narrator begins the tale as he does. He says, “I’m not sure if the tale I’m about to describe to you actually took place in this way. My memory is vague and a lot of things I’ve heard only from hearsay.” The beginning is meant to stress for the audience that the reality they’re seeing onscreen shouldn’t be taken as reality, but as memories and artifact. The black and white stresses this artificial aspect, too.

This is your first film shot in Germany in a decade. How different is it working in other countries, especially outside of your native language?

It’s easier in Germany because I understand everything. [laughs] It’s not a question of how to explain myself. Even when I explain in a very childish way, the actors are forced to listen to me, so it’s not so terrible. I’m a control freak. I have to know what’s going on. If it’s in another country — even in France, I speak not-too-bad French — I’m a little bit out of control because they’re talking and I don’t understand everything. There’s more stress.

There are wonderful actors all around the world. By shooting in different languages, you have the opportunity to work with them as well. What’s important is, when you’re listening to your actors, to be able to tell whether the emotions are true or not. When it’s not my mother tongue, I can see if a reading is correct or not. The advantages outweigh the disadvantages. Working in different languages has allowed me to be able to shoot continuously without long pauses in between because I’ve been in different territories.

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There are a quite a few roles for children in all your films, and you always snag great performances out of them. Good child actors are hard to come by, as is. What’s your trick?

There’s no trick! You have to find the right casting, that’s all. If you have talented children, it’s better than an actor because they’re not playing. Actors are always playing another person. With a child, if it’s a lion, he is a lion.

Speaking of casting, I noticed “Everyone Else” co-star Birgit Minichmayr in a blink-and-you’ll-miss-her cameo. That other film is a part of the “Berlin School” filmmaking scene, and I’m curious what you think of it.

I know and admire the Berlin School of filmmakers, but Birgit really doesn’t belong to them. She’s an Austrian who works in Vienna, but I know her personally. That was as a favor to me that this huge theater star accepted this small role.

Your films are always so depressing and intense. Have you ever thought about directing something lighter, warmer, maybe a comedy?

Even my aunt would chide me and ask, “You’re such a nice young man. Why don’t you ever make comedies?” My answer to her was that you can’t ask a cobbler to make a hat.

“The White Ribbon” is now open in New York and Los Angeles before expanding into limited release on January 15th.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

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Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

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Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

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Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

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Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

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Self Defense

You can’t throw a download like a ninja star. Think about it.

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If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.