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There are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.

Werner Herzog

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Werner Herzog
Age: 82
Born: 1942
Born: September 5
Author
Cinematographer
Film Actor
Film Director
Film Editor
Film Producer
Screenwriter
Voice Actor
München
Werner Herzog Stipetić
Werner Stipetić
Mood
Concomitant
Financial
Noir
Ground
Fertile
Times
Hits
Natural
Insecurity
Film
Collapse
Always
Systems
Specific

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I know what I'm talking about and I've never been over budget, in 70 films.
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Do you not then hear this horrible scream all around you that people usually call silence.
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My non-fiction films are pretty much fiction, or at least close... It's all movies for me. I never have searched for a subject. They always just come along. They never come by way of decision-making. They just haunt me. I can't get rid of them. I did not invite them.
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I see planets that don't exist and landscapes that have only been dreamed.
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The internet doesn't have any qualities, technical qualities. It's just fast, reaching out everywhere and so, it can process that and that volume of data flows and so, but it doesn't have any qualities like good or bad or ethical or non-ethical. It's humans, it's us, not the internet.
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I find it interesting that there are impostors out on the Internet pretending to be Werner Herzog.
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There is never an excuse not to finish a film.
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Film is not analysis, it is the agitation of mind cinema comes from the country fair and the circus, not from art and academicism.
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I always felt completely confident - it's like in a feature film, knowing your principle character is extremely well-cast. I had that same confidence in Clive [Oppenheimer].
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We have to articulate ourselves. Otherwise we would be cows in the field.
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The universe is not harmonious: you know that by looking outside.
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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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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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When the camera is looking back at our planet Earth, it's the tiniest of specks somewhere out there in the universe. So we do have a new sense of proportion. Of course the volcanoes and the magma under us just remind us of that.
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I'm talking a lot on financing in the Masterclass and I know what it means to because I had to finance my first films, all of them, and I earned my money as a welder in a steel factory doing night shifts while I was still in high school during the day.
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When you look at my film you see footage that is unbelievably awesome and beautiful and dangerous looking. It's something that is very, very cinematic.
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I never planned my career in steps. It's all coming at me like burglars in the night.
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I travel without barely any luggage. Just a second set of underwear and binoculars and a map and a toothbrush.
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I discover no kinship, no understanding, no mercy. I see only the overwhelming indifference of nature.
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Fragility of modern world leaves me with the idea we'd better anticipate what's going on. We take our right steps today and now. And we'd better avoid, that we are overdependent on, let's say, the internet.
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