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It was a subject [ volcanoes] that was dormant in me for a long time and it popped up 40 years ago when I made a [short] film on the Caribbean island of Guadeloupe about a volcano that was about to explode and a single farmer refused to leave [La Soufrière].

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
Single
Farmer
Leave
Refused
Film
Island
Popped
Made
Farmers
Volcano
Long
Islands
Volcanoes
Years
Subject
Caribbean
Time
Subjects
Explode
Short
Dormant

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I prefer to be alive, so I'm cautious about taking risks.
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If the part is really good of course I would like to do it.
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We have to articulate ourselves. Otherwise we would be cows in the field.
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With actors, normally I don't like to have any conversation about background and about motivations and all this.
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I function better in the jungle in Amazonia or Antarctica or Alaska or the Sahara desert. An artificial environment like a studio has never attracted me. I could work in a studio, but I would never really feel at home.
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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's more substance in my prose and my poetry than in all my films together. Writing is a more direct way of expressing yourself because, in cinema, you always have finances, organization, actors, technical apparatus and all that stuff coming in between.
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What would an ocean be without a monster lurking in the dark? It would be like sleep without dreams.
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I'm not a one-trick horse.
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The wonderful thing is that Clive [Oppenheimer ] insisted on training his camera - his private camera - on me at one point. We were discussing things such as how to avoid certain dangers, while reflecting on a volcano that had threatened to explode 40 years ago.
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My contacts with the film industry can be described in very simple terms: The industry does not really need me, and I do not really need the industry.
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I am someone who takes everything very literally. I simply do not understand irony, a defect I have had ever since I was able to think independently.
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I could not become an American citizen. I would not like to become a citizen of a country that has capital punishment.
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Facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable.
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North Korea is not an exception. Even there, where you think it would be completely sober, they have the myth of their revolution being connected to the volcano.
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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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Public life is constantly aware of the volcano.
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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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