PIANO TEACHER pressbook by ghkgkyyt



                                      Isabelle Huppert
                              Benoît Magimel Annie Girardot


              The Piano Teacher
                                        A Michael Haneke film

                                                        WINNER                                 BEST ACTOR
        BEST ACTRESS                                     Cannes
      Isabelle Huppert                                                                      Benoît Magimel
    Cannes Film Festival                                                                  Cannes Film Festival
                                                       Jury Prize

                                  Press Contact:
                           In New York: Wang & Gluck
       Sophie Gluck and Telly Wong (212) 226-3269 or wangluck@ix.netcom.com
                                  All other locations:
       Gabriele Caroti at Kino International: (212) 629-6880 or gcaroti@kino.com


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                               The Piano Teacher
                                            Erika Kohut        Isabelle Huppert
                                        Walter Klemmer         Benoît Magimel
                                            The mother         Annie Girardot
                                         Anna Schober          Anna Sigalevitch
                                          Mrs. Schober         Susanne Lothar
                                            Dr. Blonskij       Udo Samel

                                 Written and directed by Michael Haneke
                         Based on the novel of the same name by Elfriede Jelinek
                       Produced by Veit Heiduschka, Marin Kamitz and Alain Sarde
                           Executive Producers: Michael Katz and Yvon Crenn
                                Director of Photography: Christian Berger
                                 Edited by Monika Willi and Nadine Muse
                                  Production design by Christoph Kanter
                       Assistant Producers: Nathalie Kreuther and Christine Gozlan
                                  Production Coordinator: Ulrike Lässer
                                    Sound recordist Guillaume Sciama
                                   Mixing engineer Jean-Pierre Laforce
                                   Music consultant Martin Achenbach
                                  Costume design by Annette Beaufaÿs
         A Wega-Film, MK2, Les Films Alain Sarde and Arte France Cinema co-production
         with the participation of Canal +, Arte/BR,CNC, ÖFI, WFF, ORF, and Eurimages
                   Austria, France • 2000 • 130 minutes • Color • 1.85:1 • Dolby SR
                                Winner of the Cannes Grand Jury Prize 2001
                               Isabelle Huppert: Best Actress, Cannes 2001
                                 Benoît Magimel: Best Actor, Cannes 2001
                       Isabelle Huppert: Best Actress, European Film Awards 2001

                                 A Kino International Release

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                               The Piano Teacher
   Erika Kohut (Isabelle Huppert) is a piano teacher at a prestigious music school in Vienna.
   In her early forties and single, she lives with her overprotective and controlling mother
   (Annie Girardot). Lonely and alienated, Erika finds solace by visiting sex shops and experi-
   menting with masochism.
   At a recital, she befriends Walter Klemmer (Magimel), a handsome young man, whom she
   seduces and begins an illicit affair with. As Erika slowly drifts closer to the brink of emotional
   disorder, she uses the love-stricken Walter to explore her darkest sado-masochistic fantasies.

                                                 Elfriede Jelinek
   Born in Styria in 1946, Jelinek is a fervent intellectual, a famous playwright and a success-
   ful writer. She belongs to the school of the great polemicists and misanthropes such as
   Karl Kraus or Thomas Bernhard. Besides The Piano Teacher, Jelinek has written Lust,
   Wonderful, Wonderful Times and Women As Lovers. All of her work has confirmed
   Elfriede Jelinek as a major author of her generation.

                         Interview with Elfriede Jelinek by Marie Rivière
                                           Translated by Robert Gray

   This is the first time that a work of yours has been adapted for the screen. What made
   you decide to let Michael Haneke go ahead with the project?
   For a long time I hesitated to give permission for a film adaptation, because my prose
   works are so language-oriented. That is, the images are created in and are transmitted
   through language. I couldn’t imagine that film images could add anything essential. But
   I always knew that I only would work with a director like Haneke, who can juxtapose his
   own canon of images with the text.

   Like Michael Haneke, you are Austrian, and like him, you have constantly explored the
   dark, the monstrous side of the human heart. Should we see a strong connection in this?
   That is another cliché. But it is true that we are not particularly “light” individuals—artistical-
   ly, I mean. I, like Haneke, in so far as I know his work, am better able to criticize society
   from a negative perspective. Precisely because even the positive clichés in our country are
   so stifling, I sought to take what it most prides itself on, its music and musical geniuses,
   and present their negative side: the renunciation by hundreds of female piano teachers of
   their libido.

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                               The Piano Teacher
                              Interview with Elfriede Jelinek (continued)
   You were brought up by a tyrannical, middle-class Catholic mother who dreamed of your
   becoming a concert pianist, and your father died in a psychiatric institution. To what
   extent is your novel autobiographical?
   I'd prefer not to answer that, and I’d also prefer my novel not to be seen as autobiographi-
   cal, although naturally it contains many autobiographical elements. What interests me in a
   story is its resonance—in this case the unraveling of one of the women who carry on their
   backs, who carry to term the high culture that Austria so idolizes. The unlived sexuality
   expressed in voyeurism: A woman who cannot partake in life or in desire. Even the right to
   watch is a masculine right: The woman is always the one who is watched, never the one
   who watches. In that respect, to express it psychoanalytically, we are dealing here with a
   phallic woman who appropriates the male right to watch, and who therefore pays for it with
   her life.

   How do you explain Erika’s insanity?
   She is certainly not insane, not at all. Neurotic, but not insane. As I just tried to explain, this
   is all the bloody (in the truest sense of the word) consequence of the fact that a woman is
   not allowed to live if she claims a right that is not hers and that she obtains only in the
   rarest of cases: artistic fame. The right to choose a man and also to dictate how he tor-
   tures her - that is, domination in submission - this she is not permitted. Indeed for a woman
   almost everything beyond the bearing and raising of children is a presumption.

   You are not particularly easy on women.
   That isn’t my role. I seek to cast an incorruptible gaze on women, especially where they are
   the accomplices of men.

   When it was published, certain critics in Austria qualified the novel as pornographic.
   Were you hurt by this response?
   The novel is the opposite of pornography. Pornography suggests desire everywhere and at
   every moment. The novel proves that this does not exist, that it is a construct meant to keep
   women willing, because they are usually pornographic objects anyway, while men look at
   them, and can almost penetrate their bodies with their gaze. But I am used to being misun-
   derstood. I am even blamed for what I attempt to analyze in my writing. As so often happens,
   the messenger is attacked, and not what she expresses. No one is interested in that.

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                               The Piano Teacher
                              Interview with Elfriede Jelinek (continued)
   About your characters you have said, “I strike hard so nothing can grow where my char-
   acters have been.” Is redemption impossible?
   My writings are limited to depicting analytically, but also polemically (sarcastically), the hor-
   rors of reality. Redemption is the specialty of other authors, male and female. My writing,
   my method, is based on criticism, not utopianism.

   Behind the description of a pathological case, is there not a denunciation of Austria's
   musical culture, which contributes to your country's identity?
   Yes, precisely. The idolization of high musical culture, which thecountry lives off, and how it
   is paid for. (Think how these great masters were often treated in their lifetimes, and how
   contemporary artists are treated!) A sort of Hegelian master-servant relationship. High cul-
   ture is the master, the female piano teachers are the maidservants. They have no right to
   any creative energy, not even to a life of their own (I suppose I carried this to its extreme in
   the text).

   Would you have made the same musical choices as Michael Haneke?
   We discussed the choice of music beforehand. Anyway most of the pieces are specified in
   the text.

   Just like Michael Haneke with his camera, you wield your penlike a scalpel. Are there
   similarities in your work?
   That is why Michael Haneke is so well suited to adapt this novel for the screen, because
   we both proceed analytically and dispassionately, perhaps like scientists studying the life
   of insects. You see the mechanisms better from a distance than when you are in the mid-
   dle of them.

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                               The Piano Teacher
                                                Isabelle Huppert
   One of France’s most talented and best loved actresses, Isabelle Huppert was born in
   Paris, the youngest of five daughters in a comfortable middle class family. She decided to
   pursue acting at the age of thirteen. In 1986, she enrolled in the Versailles Conservatory
   and by 1971 had already played her first screen role in Nine Companez’s Faustine.
   In 1973, she was cast as Romy Schneider’s younger sister in Claude Sautet’s César and
   Rosalie. The following year she made an impressive and hilarious appearance in the final
   scenes of Bertrand Blier’s epoch-making Going Places, starring Gerard Depardieu. By 1975,
   By the mid-1970’s, Huppert was one of the busiest actresses in Europe, appearing in no
   fewer than seven films that year. Her eclectic taste in material and her ability to adapt to a
   variety of styles (both of which were to characterize her later work), were evidenced by
   outstanding performances that brought her to the forefront of her career. The first of these
   dream roles was Pomme, the simple provincial heroine of Pascal Laine’s novel, The
   Lacemaker. Filmed in 1976 by Swiss director Claude Goretta, Huppert’s characterization
   of a country girl undone by a summer romance caused a sensation at Cannes and won
   Huppert international acclaim. Though she did not win the Best Actress prize at that
   year’s festival, she won the following year with Violette, the chillingly satiric study of Violette
   Nozière, a legendary 30’s figure whose casual murder of her bourgeois father became a
   cause célèbre. She also received the Best Actress award at the Venice Film Festival.
   At this point in her career, Huppert was not only the busiest and most successful of all
   French actresses, she was also the most influential. Her participation alone made it possi-
   ble for a number of films by uncommercial “auteurs” to be made and guaranteed main-
   stream distribution. Among the films of this period were Loulou by Maurice Pialat,
   The Trout by legendary director Joseph Losey (which Losey had been trying to film for over
   a decade before Huppert’s involvement), and two of the more visible films made by
   Jean-Luc Godard since the sixties, Every Man for Himself and Passion.
   Huppert’s work also became international at this point, taking her to Italy, to Hungary, and,
   most famously, to America, for Michael Cimino’s still-legendary Heaven’s Gate. For all her
   work abroad, Huppert never abandoned French screens, alternating films by such proven
   French masters as Bertrand Tavernier in Coup De Torchon, Michel Deville, Diane Kurys and
   Bertrand Blier with her international projects. In 1988, Huppert reteamed with director
   Claude Chabrol for Story of Women, which was an artistic and commercial success.
   Since then Huppert has maintained her status as one of France’s leading ladies by starring in
   films by such bold auteurs as Hal Hartley, the Taviani Brothers, Benoît Jacquot, Raoul Ruiz,
   Olivier Assayas and, of course, nouvelle vague veteran Chabrol. Her performance in The
   Piano Teacher garnered her a second Best Actress award at Cannes.

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                               The Piano Teacher
                                      Isabelle Huppert filmography
       HUIT FEMMES by François Ozon (2002)                       EAUX PROFONDES by Michel Deville (1981)
   THE PIANO TEACHER by Michael Haneke (2001)                  COUP DE TORCHON by Bertrand Tavernier (1981)
            THE COMEDY OF INNOCENCE                                   PASSION by Jean-Luc Godard (1982)
                  by Raoul Ruiz (2000)                                   LES AILES DE LA COLOMBE
         NIGHTCAP by Claude Chabrol (2000)                                  by Benoit Jacquot (1981)
          LES DESTINEES SENTIMENTALES                          LADY OF THE CAMELIAS by Mauro Bolognini (1981)
                by Olivier Assayas (2000)                         THE HEIRESSES by Marta Meszaros(1980)
          SAINT-CYR by Patricia Mazuy (2000)                      HEAVEN’S GATE by Michael Cimino (1980)
      FALSE SERVANT by Benoît Jacquot (2000)                           LOULOU by Maurice Pialat (1980)
   MODERN LIFE by Laurence Ferreira Barbosa (1999)               SAUVE QUI PEUT (LA VIE)/EVERY MAN FOR
    PAS DE SCANDALE by Benoît Jacquot (1999)                         HIMSELF by Jean-Luc Godard (1979)
   THE SCHOOL OF FLESH by Benoît Jacquot (1998)                THE BRONTE SISTERS by André Techiné (1979)
       THE SWINDLE by Claude Chabrol (1979)                               RETOUR A LA BIEN-AIMEE
        LES PALMES DE MONSIEUR SCHUTZ                                    by Jean-François Adam (1979)
               by Claude Pinoteau (1997)                              VIOLETTE by Claude Chabrol (1978)
               THE ELECTIVE AFFINITIES                               THE INDIANS ARE STILL FAR AWAY
            by Paolo et Vittorio Taviani (1996)                             by Patricia Moraz (1976)
       THE CEREMONY by Claude Chabrol (1996)                      THE LACEMAKER by Claude Goretta (1977)
    THE SEPARATION by Christian Vincent (1994)                         THE JUDGE AND THE ASSASSIN
            AMATEUR by Hal Hartley (1994)                                 by Bertrand Tavernier (1975)
           THE FLOOD by Igor Minaev (1994)                       LE PETIT MARCEL by Jacques Fansten (1976)
          AFTER LOVE by Diane Kurys (1992)                     JE SUIS PIERRE RIVIERE by Christine Lipinska (1976)
     MADAME BOVARY by Claude Chabrol (1991)                               NO TIME FOR BREAKFAST
          MALINA by Werner Schroeter (1991)                              by Jean-Louis Bertucelli (1975)
   A WOMAN’S REVENGE by Jacques Doillon (1989)                   THE COMMON MAN by Yves Boisset (1975)
    STORY OF WOMEN by Claude Chabrol (1988)                    SERIOUS AS PLEASURE by Robert Benayoun (1974)
           MIGRATION by Alexandar Petrovic                        LE GRAND DELIRE by Dennis Berry (1975)
      BLACK MILAN by Ronald Chammah (1988)                           ALOISE by Liliane de Kermadec (1975)
     THE POSSESSED by Andrzej Wajda (1988)                           ROSEBUD by Otto Preminger (1975)
   THE BEDROOM WINDOW by Curtis Hanson (1987)                         LES VALSEUSES/GOING PLACES
              CACTUS by Paul Cox (1986)                                      by Bertrand Blier (1974)
      ALL MIXED UP by Josiane Balasko (1985)                      L’AMPELOPEDE by Rachel Weinberg (1974)
   SINCERELY CHARLOTTE by Caroline Huppert (1985)              LE BAL DE LA FOURCHE by Alain Levent (1972)
         LA GARCE by Christine Pascal (1984)                    CESAR AND ROSALIE by Claude Sautet (1972)
   MY BEST FRIEND’S GIRL by Bertrand Blier (1983)                 FAUSTINE AND THE BEAUTIFUL SUMMER
         ENTRE NOUS by Diane Kurys (1983)                                  by Nina Companez (1971)
          THE TROUT by Joseph Losey (1982)

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                               The Piano Teacher
                                       Benoît Magimel filmography
                           NID DE GUEPES by Florent Emilio Siri (2001)
                        THE KING IS DANCING by Gérard Corbiau (2000)
                         THE PIANO TEACHER by Michael Haneke (2000)
                    THE CHILDREN OF THE CENTURY by Diane Kurys (1999)
                                   LISA by Pierre Grimblat (1999)
                              TO MATHIEU by Xavier Beauvois (1999)
                              ALREADY DEAD by Olivier Dahan (1998)
                         UNE MINUTE DE SILENCE by Florent Siri (1998)
                       THE CHILD OF THE NIGHT by André Techine (1996)
                              A SINGLE GIRL by Benoît Jaquot (1996)
                     QUINZE SANS BILLETS (Short) by Samuel Tasinaje (1996)
                  JUSTE AU DESSUS DES LOIS (Short) by Sauveur Msellati (1996)
                   CODE DE BONNE CONDUITE (Short) by Nicholas Klein (1996)
                            LA HAINE/HATE by Mathieu Kassovitz (1995)
                     PUTAIN DE PORTE (Short) by Jean-Claude Flamand (1993)
                          THE STOLEN DIARY by Christine Lipinska (1992)
                     TOUTES PEINES CONFONDUES by Michel Deville (1991)
                         THE COUNTRY YEARS by Philippe Leriche (1991)
                   PAPA EST PARTI... MAMAN AUSSI by Christine Lipinska (1988)
                     LIFE IS A LONG QUIET RIVER by Etienne Chatiliez (1987)

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                               The Piano Teacher
                                 Annie Girardot selected filmography
                    CECI EST MON CORPS by Rodolphe Marconi (2001)
                      THE PIANO TEACHER by Michael Haneke (2000)
                        LES MISERABLES by Claude Lelouch (1994)
                         THANK YOU, LIFE by Bertrand Blier (1990)
               IL Y A DES JOURS ET DES LUNES by Claude Lelouch (1989)
                     COMEDIE D’AMOUR by Jean-Pierre Rawson (1989)
                        PRISONNIERES by Charlotte Silvera (1988)
           ALL NIGHT LONG by Jean-Claude Tramont (LA VIE EN MAUVE) (1981)
              UNE ROBE NOIRE POUR UN TUEUR by José Giovanni (1980)
                              LA ZIZANIE by Claude Zidi (1977)
                 NO TIME FOR BREAKFAST by Jean-Louis Bertucelli (1975)
                             THE GIPSY by José Giovanni (1975)
                            THE SLAP by Claude Pinoteau (1974)
               ELLE CAUSE PLUS, ELLE FLINGUE by Michel Audiard (1972)
                        LA VIEILLE FILLE by Jean-Pierre Blanc (1971)
                          TO DIE OF LOVE by André Cayatte (1970)
                                  by Michel Audiard (1969)
                           A MAN I LIKE by Claude Lelouch (1969)
                        DILLINGER IS DEAD by Marco Ferreri (1968)
                          LIVE FOR LIFE by Claude Lelouch (1966)
                          THE WITCHES by Luchino Visconti (1966)
    THE DIRTY GAME by Christian-Jaque,Terence Young, Carlo Lizzani,Werner Klinger (1965)
                  THREE ROOMS IN MANHATTAN by Marcel Carné (1965)
                         THE ORGANIZER by Mario Monicelli (1963)
      I FUORILEGGE DEL MATRIMONI by Paolo and Vittorio Taviani and V. Orsini (1963)
                         THE APE WOMAN by Marco Ferreri (1963)
                     GENTLE ACT OF MURDER by Gérard Oury (1961)
                 ROCCO AND HIS BROTHERS by Luchino Visconti (1960)
                THE MAN WITH THE GOLDEN KEYS by Léo Joannon (1956)

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                               The Piano Teacher
                                                 Michael Haneke
   Michael Haneke was born in Munich, Germany in 1942. He studied philosophy, psychology
   and drama in Vienna. Upon graduation, he became a playwright with the Südwestfunk
   Theater Company from 1967-1970 and wrote scripts for German television. His theatrical
   work has been produced in Stuttgart, Düsseldorf, Frankfurt, Hamburg, Munich, Berlin and
   Vienna. Since 1970, he has directed and written for both film and television.
   His first feature film, The Seventh Continent (1989), “one of the cinema’s great debuts,”
   established the writer/director as a unique new voice in international cinema. His first in a
   trilogy on “emotional glaciation” dealt with real life suicide of a Viennese family and was fol-
   lowed by Benny’s Video (1992) and 71 Fragments of a Chronology of Chance (1994).
   His subsequent film, an important satire on the commodification of violence in the media,
   would be his most notoriously powerful film up to that point. Funny Games (1997) is a
   shocklingly gory post-modern tale of the slow torture and death of an Austrian family on
   their first day of vacation.
   Called “The most intellectually stimulating and emotionally provocative piece of European
   cinema of recent times,” Code Unknown is Haneke’s first French language feature.
   Starring French doyenne Juliette Binoche, the film premiered at Cannes in 2000, and
   explores themes of alienation everpresent in Haneke’s work, which are also central in
   The Piano Teacher.
   The director had been wanting to adapt Jelinek’s novel to film ever since he read it after its
   publication in 1983. A very important work in contemporary Austrian literature,
   The Piano Teacher was in constant demand to be made into a film. After years of rights
   issues, Haneke was finally given the opportunity to make it with Isabelle Huppert as the lead.
   Michael Haneke’s work has been in numerous retrospectives, including at the Festival of
   Central European Culture in London and more recently at the American Cinemathèque in
   Los Angeles. This travelling retrospective will appear at the museum of Modern Art in New
   York in Spring 2002.

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                               The Piano Teacher
                                       Michael Haneke filmography

                               THE PIANO TEACHER (2001) Writer / director
                                      Winner Grand Jury Prize, Cannes 2001

                                 CODE UNKNOWN (2000) Writer / director
                                            In Competition Cannes 2000

                                   FUNNY GAMES (1997) Writer / director
                                         In Competition, Cannes 1997
                               Silver Hugo Award, Chicago Film Festival 1997
                          Fipresci Award, Flanders International Film Festival 1997
                        13ème Prix Très Spécial Communiqué de Presse, Paris 1997
                                  Lifetime Achievement Award, Biarritz 1998
                       Konrad-Wolf-Preis awarded by the Academy of Arts, Berlin 1998

          71 FRAGMENTS OF A CHRONOLOGY OF CHANCE (1994) Writer / director
                                        Directors’ Fortnight, Cannes 1994
                                Golden Hugo Award, Chicago Film Festival 1994
                           Prize for Best Film, Prize for Best Screenplay, Critics’ Prize,
                                  Sitges International Fantasy Film Festival 1994

                                  BENNY’S VIDEO (1992) Writer / director
                                       Directors’ Fortnight, Cannes 1992
                                      Fipresci Award, Thessalonica 1992
                                         City of Vienna Film Prize 1992
                                      Jury Prize, Châlon sur Saone 1992
                                      Fipresci Award [Felix], Berlin 1993
                              Golden Frame Prize for best feature film, Vienna 1994

                           THE SEVENTH CONTINENT (1989) Writer / director
                                       Directors’ Fortnight, Cannes 1989
                          Bronze Leopard, International Film Festival Locarno 1989
                              Best Music and Best Sound Award, Ghent 1989
                    Prize for distribution of quality films in Belgium Films, Brussels 1989
            Austrian Award of Honour from the Ministry of Education and Arts for Cinema 1990

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                               The Piano Teacher
                                       Susanne Lothar filmography
                          THE PIANO TEACHER by Michael Haneke (2000)
                             FUNNY GAMES by Michael Haneke (1997)
                              THE CASTLE by Michael Haneke (1996)
                                         TATORT (1993)
                        DER JUNGE MUSSOLINI by Gianluigi Calderone (1992)
                                     DAS TÖDLICHE AUGE
                                HAMILTON by Pelle Kirkelund (1991)
                         BORDER CROSSING by Steward MacInnon (1990)
                             DIE ZWEITE HEIMAT by Edgar Reitz (1989)
                                DER BERG by Markus Imhoof (1988)
                                EISENHANS by Tankred Dorst (1984)

                                           Udo Samel filmography
                     THE PIANO TEACHER by Michael Haneke (2000)
                IN THE NAME OF INNOCENCE by Andreas Kleinert (1996)
                          LIEBE LÜGEN by Martin Walz (1996)
           KILLER CONDOM by Ralf König and Martin Walz, Luigi Mackeroni (1996)
                   BACK TO SQUARE ONE by Reinhard Münster (1994)
      MIT MEINEN HEIßEN TRÄNEN / NOTTURNO by Fritz Lehner, Franz Schubert (1986)

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