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As for the anger of the volcano, we leave it up to the local populations who create their demons, their gods and their divine punishment.

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
Anger
Populations
Divine
Demons
Leave
Demon
Create
Locals
Local
Punishment
Gods
Volcano
Population
Volcanoes

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I have not seen a film as powerful, surreal, and frightening in at least a decade unprecedented in the history of cinema.
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Of course the entire planet Earth consists of magma under us, and only the very inner-core is different.
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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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Similar thing until today, with digital cameras you look after something like that as robust as they can be.
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I think it is a quest of literature throughout the ages to describe the human condition.
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I'm not a one-trick horse.
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Fact creates norms, and truth illumination.
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I have always postulated that we have to find a new way to deal with reality. It's not so much facts that interest me, but a deeper truth in them - an ecstasy of truth, an ecstatic truth that illuminates us. That's what I've been after.
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If you truly love film, I think the healthiest thing to do is not read books on the subject. I prefer the glossy film magazines with their big color photos and gossip columns, or the National Enquirer. Such vulgarity is healthy and safe.
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Orson Welles, one of the best of the best. One of the strongest. As strong as an animal. He somehow was pushed out of the business because he would spend the entire budget of the film before he had even done half the pre-production.
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For me a true landscape is not just a representation of a desert or a forest. It shows an inner state of mind, literally inner landscapes, and it is the human soul that is visible through the landscapes presented in my films.
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Ten years ago in Antarctica shooting Encounters at the End of the World, I met a very fine volcanologist from Cambridge University [Clive Oppenheimer] and we kept talking about doing a film and all of a sudden it became serious when he hinted at the possibility to film in North Korea.
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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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Never wallow in your troubles despair must be kept private and brief.
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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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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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I don't see poetry as something that has to do with too much emotion anyway. It has to do with language.
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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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I shouldn't make movies anymore. I should go to a lunatic asylum.
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You can fight a rumour only with an even wilder rumour.
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