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Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.

Wim Wenders

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Wim Wenders
Age: 79
Born: 1945
Born: August 14
Actor
Film Director
Film Producer
Filmmaker
Photographer
Screenwriter
University Teacher
Dusseldorf
Vimu Vendâsu
Ernst Wilhelm Wenders
Vimu Vendasu
Looking
Grand
Bigs
Camera
Felt
Anywhere
Like
Cameras
City
Painting
Hopper
Cities
Edward
Stage
Paintings

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The Cuban people have an amazingly strong and unbroken spirit.
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Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.
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I'm getting a little bored by the juxtaposition of American and other cinema. I no longer think this division is as true as it might have been in the 1980s, or the early part of the 90s.
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So I am getting a little bored with defining one type of film as American and the other European or from somewhere else because the division is no longer true.
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On the contrary a film can promote the idea of change without any political message whatsoever but in its form and language can tell people that they can change their lives and contribute to progressive changes in the world.
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An image that is unseen can't sell anything. It is pure, therefore true, beautiful, in one word: innocent. As long as no eye contaminates it, it is in perfect unison with the world. If it is not seen, the image and the object it represents belong together.
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The more opinions you have, the less you see.
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It's a great lesson in modesty that you realize you're illiterate in a field that you think you're an expert in.
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To evoke the classic period of Italian cinema in a little film seemed like a great, fun thing to do. I had relations to that period. I had known Fellini and I had known Antonioni. I had made a movie with Antonioni and I had visited Fellini in his studios. So, it seemed like something worthwhile doing. You bring yourself to that mythical cinema.
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For years all I seemed to be doing was lobbying politicians and others to persuade them that European culture needed movies, and that we had to protect it.
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The beautiful image today means nothing. It's worthshit. In fact, it's almost as if it has the opposite effect, becauseyou're just like everything else out there.
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Movies are something people see all over the world because there is a certain need for it.
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Film is a very, very powerful medium. It can either confirm the idea that things are wonderful the way they are, or it can reinforce the conception that things can be changed.
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It's very hard to find critics or a magazine today that will publish material that is genuinely independent and written without any concern about being cut off some distributor's list or not be invited or flown into screenings.
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Take opera for example - to go to the opera you have to dress up in a tuxedo and pay lots of money.
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The most important question for me when I begin working on a film is where to start. For a book, what makes you convinced there is a story that is worthwhile?
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Cinema is a worldwide phenomenon.
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Without dreams, there can be no courage. And without courage, there can be no action.
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I heard that Trump said even smelling a book makes him feel tired.
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Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
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