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| Werner
Herzog |
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| Director
/ Screenwriter / Producer |
| 1942 - |
| Born September 5,
Munich, Germany |
| Key
Production Countries: Germany, France
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Key Genres: Adventure
Drama, Adventure, Documentary |
| Key
Collaborators: Beate
Mainka-Jellinghaus
(Editor), Jorg Schmidt-Reitwein (Cinematographer), Thomas Mauch (Cinematographer), Popol Vuh (Composer),
Klaus Kinski (Leading Player), Henning
von Gierke (Production Designer), Bruno S. (Leading Player), Walter Ladengast (Leading Player), Wolfgang von Ungern-Sternberg (Leading
Character Player), Rainer Klausmann (Cinematographer) |
| Recommended: Signs
of Life (1968), Land of Silence and Darkness
(1971), Fata Morgana (1971), Aguirre: The Wrath of God (1972), The Great Ecstasy of Woodcarver Steiner
(1974), The
Enigma of Kaspar Hauser (1974), Stroszek (1977), Nosferatu the Vampyre (1979), Lessons of Darkness (1992),
Grizzly Man (2005) |
| Links:
[
IMDB ] [ All-Movie
Guide ] [
Senses of Cinema: Great Directors ] [
Film Reference ]
[ Werner
Herzog Film ] [ BBC
Interview ] [
Strictly
Film School ] [ New
German Cinema Biography ] [ Baseline
Biography ] [ MovieMaker
Article: The Enigma of Werner Herzog ] [ Conversation
with Roger Ebert (2005) ] [
kamera Article
] [
World Screen Interview
] [
New York
Magazine Article (2007 ] [
Filmmaker Article (2007) ] [
The Believer: Conversation with Errol Morris (2008) ] [
Filmmaker Interview (2008)
] |
| Books: [
Herzog
on Herzog ] [ Werner
Herzog ] [ Werner
Herzog (Arte Edition) ] [ The
Films of Werner Herzog: Between Mirage and History ] [ Images
at the Horizon: A Workshop with Werner Herzog ] [
Fitzcarraldo: The Original Story ] |
| DVD's: [ Amazon
] |
| 1,000
Greatest Films: Signs of
Life (1968), Land of Silence and Darkness (1971), Aguirre: The Wrath of God (1972), The
Enigma of Kaspar Hauser (1974), Fitzcarraldo (1982), Lessons of Darkness (1992) |
|
21st Century's Most Acclaimed Films:
Grizzly Man (2005) |
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"Fond of
shooting in difficult locations, he can seem as eccentric and
driven as one of his heroes. Recently he appears to have found
it difficult to continue making films, but his visionary work
of the 70s constitutes a high point of the modern cinema." -
Geoff
Andrew (The Director's Vision, 1999) |
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"It was
immediately clear that Herzog possessed a quick sense of
narrative; a withdrawn, mobile camera; and a dark, inquisitive
humour...As attention fell on Herzog, so his pursuit of
extremism became a little more studied; it began to seem more
zealous than natural...Herzog pictures were events in the
seventies, but they became very hard to see, Fitzcarraldo
was the last film to get wide screenings" - David
Thomson (The New Biographical Dictionary of Film, 2002) |
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"Werner
Herzog, more than any director of his generation, has through
his films embodied German history, character, and cultural
richness. While references to verbal and other visual arts would
be out of place in treating most film directors, they are key to
understanding Herzog. For his techniques he reaches back into
the early part of the twentieth century to the Expressionist
painters and filmmakers, back to the Romantic painters and
writers for the luminance and allegorization of landscape and
the human figure." - Rodney
Farnsworth (The St. James Film Directors Encyclopedia, 1998) |
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"One of the best of the new wave of German filmmakers, Herzog
has already mastered themes of illusion, delusion, alienation,
and hypocrisy." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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"There are
certainly laws and elements that make a film more accessible to
mainstream audiences. If you've got Tom Cruise as a strongman,
I'm sure it would have larger audiences, but it wouldn't have
the same substance." - Werner
Herzog |
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"I cannot
work fast enough. I cannot cope fast enough, really. And just
releasing a film is hard." -
Werner Herzog |
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