Bøker av Werner Herzog

A poetic meditation on life and death, by one of the most renowned and respected film-makers and intellectuals of our time. It is a remarkable narrative - part pilgrimage, part meditation, and a confrontation between a great German Romantic imagination and the contemporary world.

A fever-dream journal documenting the making of cinema's most infamous production, from the world's most infamously visionary director: Werner Herzog. In 1982, the visionary film director, Werner Herzog, released Fitzcarraldo, a lavish film about a would-be rubber baron who pulls a 320-ton steamship over a mountain. Hailed instantly by critics around the globe as a masterpiece, Fitzcarraldo won Herzog the 1982 Outstanding Director Prize at the Cannes Film Festival, affirming Herzog's reputation as one of the most revered and enigmatic filmmakers of his time.Conquest of the Useless is the diary Herzog kept during the making of Fitzcarraldo, compiled from June 1979 to November 1981. Emerging as if out of an Amazonian fever dream during filming, Herzog's writings are an extraordinary documentary unto themselves. Strange and otherworldly events are recounted by the filmmaker. The crew's camp in the heart of the jungle is attacked and burned to the ground; the production of the film clashes with a border war; and, of course, Herzog unravels the impossible logistics of moving a 320-ton steamship over a hill without the use of special effects.In his preface, Herzog warns that the diary entries collected in Conquest of the Useless do not represent "reports on the actual filming" but rather "inner landscapes, born of the delirium of the jungle." Thus begins an extraordinary glimpse into the mind of a genius during the making of one of his greatest achievements.

“A potent, vaporous fever dream; a meditation on truth, lie, illusion, and time that floats like an aromatic haze through Herzog’s vivid reconstruction of Onoda’s war.” —The New York Times Book ReviewThe national bestseller by the great filmmaker Werner Herzog. The great filmmaker Werner Herzog, in his first novel, tells the incredible story of Hiroo Onoda, a Japanese soldier who defended a small island in the Philippines for twenty-nine years after the end of World War IIIn 1997, Werner Herzog was in Tokyo to direct an opera. His hosts asked him, Whom would you like to meet? He replied instantly: Hiroo Onoda. Onoda was a former soldier famous for having quixotically defended an island in the Philippines for decades after World War II, unaware the fighting was over. Herzog and Onoda developed an instant rapport and met many times, talking and unraveling the story of Onoda’s long war.At the end of 1944 on Lubang Island, with Japanese troops about to withdraw, Onoda stayed behind under orders from his superior officer. For years, Onoda continued to fight his fictitious war—at first with other soldiers, and then, finally, alone, a character in a novel of his own making.In The Twilight World, Herzog immortalizes and imagines Onoda’s years of absurd yet epic struggle in an inimitable, hypnotic style—part documentary, part poem, and part dream—that will be instantly recognizable to fans of his films. The result is a novel completely unto itself: a glowing, dancing meditation on the purpose and meaning we give our lives.

Over the course of his career, legendary director Werner Herzog (b. 1942) has made almost sixty films and given more than eight hundred interviews. This collection features the best of these, focusing on all the major films, from Signs of Life and Aguirre, the Wrath of God to Grizzly Man and Cave of Forgotten Dreams. When did Herzog decide to become a filmmaker? Who are his key influences? Where does he find his peculiar themes and characters? What role does music play in his films? How does he see himself in relation to the German past and in relation to film history? And how did he ever survive the wrath of Klaus Kinski? Herzog answers these and many other questions in twenty-five interviews ranging from the 1960s to the present. Critics and fans recognized Herzog's importance as a young German filmmaker early on, but his films have attained international significance over the decades. Most of the interviews collected in this volume-some of them from Herzog's production archive and previously unpublished-appear in English for the very first time. Together, they offer an unprecedented look at Herzog's work, his career, and his public persona as it has developed and changed over time.

Werner Herzog has produced, written, and directed more than seventy films, including Nosferatu the Vampyre; Aguirre, the Wrath of God; Fitzcarraldo; and Grizzly Man. He grew up in a remote mountain village in Bavaria and now lives in Los Angeles, California. His books Of Walking in Ice and Scenarios I and II are also published by Minnesota. ¿ Krishna Winston is Marcus L. Taft Professor of German Language and Literature at Wesleyan University. ¿

The second in a series: the master filmmaker’s prose scenarios for four of his notable filmsOn the first day of editing Fata Morgana, Werner Herzog recalls, his editor said: “With this kind of material we have to pretend to invent cinema.” And this, Herzog says, is what he tries to do every day. In this second volume of his scenarios, the peerless filmmaker’s genius for invention is on clear display. Written in Herzog’s signature fashion—more prose poem than screenplay, transcribing the vision unfolding before him as if in a dream—the four scenarios here (three never before translated into English) reveal an iconoclastic craftsman at the height of his powers.Along with his template for the film poem Fata Morgana (1971), this volume includes the scenarios for Herzog’s first two feature films, Signs of Life (1968) and Even Dwarfs Started Small (1970), along with the hypnotic Heart of Glass (1976). In a brief introduction, Herzog describes the circumstances surrounding each scenario, inviting readers into the mysterious process whereby one man’s vision becomes every viewer’s waking dream.

I do not follow ideas, I stumble into stories or into people; and I know that this is so big, I have to make a film. Very often, films come like uninvited guests, like burglars in the middle of the night. They are in your kitchen; something is stirring, you wake up at 3 a.m. and all of a sudden they come wildly swinging at you.When I write a screenplay, I write it as if I have the whole film in front of my eyes. Then it is very easy for me, and I can write very, very fast. It is almost like copying. But of course sometimes I push myself; I read myself into a frenzy of poetry, reading Chinese poets of the eighth and ninth century, reading old Icelandic poetry, reading some of the finest German poets like Hú6lderlin. All of this has absolutely nothing to do with the idea of my film, but I work myself up into this kind of frenzy of high-caliber language and concepts and beauty.And then sometimes I push myself by playing music, for example, a piano concerto by Beethoven, and I play it and write furiously. But none of this is an answer to the question of how you focus on a single idea for a film. And then, during shooting, you have to depart from it sometimes, while keeping it alive in its essence. —Werner Herzog, on filmmakingWerner Herzog doesn''t write traditional screenplays. He writes fever dreams brimming with madness, greed, humor, and dark isolation that can shift dramatically during production—and have materialized into extraordinary masterpieces unlike anything in film today. Harnessing his vision and transcendent reality, these four pieces of long-form prose earmark a renowned filmmaker at the dawn of his career.