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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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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