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I have a great map of the Tibesti Mountains in the southern Sahara or Northern Chad. It's a dream of mine to go there, but it's such a volatile area, you have to be prudent.

Werner Herzog

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Werner Herzog
Age: 82
Born: 1942
Born: September 5
Author
Cinematographer
Film Actor
Film Director
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München
Werner Herzog Stipetić
Werner Stipetić
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In a way, I managed to get the deepest things, the best things out of people. That's why I'm a filmmaker. If you don't have it in you, you'd better do something else.
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We have volcanoes also in our immediate neighborhood. I wish we didn't have to travel that far. Probably the kind of magnitude and awesome raw power of them is very fascinating, and of course it's very cinematic.
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If I had to climb into hell and wrestle the devil himself for one of my films, I would do it.
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For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.
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There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.
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Read, read, read, read, read, read, read, read, read, read, read, read, read...if you don't read, you will never be a filmmaker.
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At the end [when I speak about] magma under us everywhere, how it's monumentally indifferent to scurrying roaches, recoiled reptiles, and vapid humans alike. You see, you would never hear anything like that in a National Geographic or a PBS movie. This is clearly a transgression when it comes to being politically correct with your commentary.
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I think I would be a good villain in a James Bond movie.
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In the face of the obscene, explicit malice of the jungle, which lacks only dinosaurs as punctuation, I feel like a half-finished, poorly expressed sentence in a cheap novel.
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The volcano itself wasn't that interesting, but the man who refused to be evacuated - the only one of 75,000 people - was what set the tone for the film [Encounters at the End of the World] that we made together [with Clive Oppenheimer] ten years later.
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I had complete freedom. They [Netflix] knew roughly what I was doing.
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It has always been my aim to find that sort of passion and figure out how to transform it into cinema.Timothy Treadwell's footage was almost like a diary, and he had always dreamt of becoming the movie star in his own gigantic production.
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Netflix knew I was going to North Korea and Ethiopia and Iceland. They saw the film and liked it and that was that.
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It's not because nature is angry, it's rather that we are stupid. We're not doing the right thing with our planet.
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Gaining trust is not difficult for me. I needed to gain the trust of the North Korean supervisors.
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I am not an artist and never have been. Rather I am like a craftsman and feel very close to the mediaeval artisans who produced their work anonymously and who, along with their apprentices, had a true feeling for the physical materials they were working with.
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Sometimes bad luck hits you like in an ancient Greek tragedy, and it's not your own making. When you have a plane crash, it's not your fault.
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By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
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It doesn't matter whether you shoot on celluloid or on digital, you better make a good film.
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My crew [on Fitzcarraldo filming] actually said, We have filmed it from outside on the rocks of the shore. We should be on board [the ship], and I said it's dangerous, I only do it if you cinematographer Thomas Mauch and you actor [Klaus] Kinski decide on your own.
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