“We now live in a time of endless possibility.”
“Girls are trained to say, ‘I wrote this, but it’s probably really stupid.’ Well, no, you wouldn’t write a novel if you thought it was really stupid. Men are much more comfortable going, ‘I wrote this book because I have a unique perspective that the world needs to hear.’ Girls are taught from the age of seven that if you get a compliment, you don’t go, ‘Thank you’, you go, ‘No, you’re insane.’”
Having feelings for someone who belongs to someone else sucks. Like, it really sucks. I used to thing people were exaggerating, but it’s not a good feeling at all.
David Fincher: The look on Jesse’s face after Andrew says, “Oh god, we’re in so much trouble now,” and you cut to Jesse and he has this sort of impish look on his face, like “so what? Isn’t that the point, to be naughty?” and then you see it sink in for a second—he’s like, “oh wait a minute.” I remember watching him as we were shooting and he did it probably 12 or 13 times, and every time it was just a little bit different. You could just tell he had his fingers tightly around the throat of exactly what he was doing with this guy, and it’s a great pleasure to watch somebody who is as skillful as Jesse Eisenberg is. He doesn’t, I think, give himself the credit a lot of times because he’s so much of a responder. He’s not the kind of actor who wants to take center stage; he wants to react. But when you see him be this good for this many weeks in a row—and I remember he took me aside at one point and said, “You would tell me if I was sucking ass, you would tell me if I was terrible?” and I said, “Oh yeah, absolutely, you would be the first to know.”
— DVD commentary
You can view a time-lapse of this painting at https://www.youtube.com/watch?v=snLLPDYKuB8
x There was a lot of discussion about that and how it would come about. And I had a lot of thought about that. I thought, ‘How would I want that scene conveyed’ and then just let go. I first wanted to respond in a humane way: a person was choking to death, so to stop it the impulse was to help. And then he stops himself because he realizes this is the same person who was just blackmailing him and threatening to expose his whole enterprise and everyone’s life would be turned upside down…
But then I look at her again and I said, 'She's just a girl — she could be my daughter,' so you have an impulse again to do something. But then I think, 'But she's got Jesse on heroin and she's going to kill that boy who I have an affinity for.' So he’s going back and forth and trying to make sense of this whole experience.
My friend, you suffer from the misplaced optimism of the doom.
Snowpiercer | Bong Joon Ho, 2013
Funny Games is a cinematic version of the philosophical riddle of a tree falling in a forest, leading not only to a heightened sense of being an accomplice on the part of the audience but also to asking questions regarding the audience’s responsibility, the obligation to think about what it means to look at violent imagery and the pain of others and the capacity to understand the absurdity, randomness, and brutality that the violent images actually show. Funny Games is meant to lead to reflection, to catch the audience looking in order to make them conscious of their own look. By establishing an interconnection between the diegesis and the non-diegesis, the film creates an “ethical space” where the audience is held as an accomplice to a representation of violence that they do not even want to see. The audience position in Funny Games, then, is of necessity ethically charged, since this consciousness cannot arise without simultaneously revealing moral values with regard to (media) violence.
- Tarja Laine, “Haneke’s ‘Funny Games’ with the Audience.”
Rooney attends the Calvin Klein Collection fashion show during Mercedes-Benz Fashion Week Spring 2015 at Spring Studios on September 11, 2014 in New York City