Werner Herzog (German: [ˈvɛɐ̯nɐ ˈhɛɐ̯tsoːk]; born 5 September 1942) is a German screenwriter, film director, author, actor, and opera director.
You have to be very prudent with what you are doing and what sort of tools you are utilizing. Drones have become a wonderful new tool in filmmaking.
Amos Vogel was a mentor, a guiding light for me. In his presence, you always rose. But his importance to me is of minor significance. What is significant is that with him an entire epoch ends. The Last Lion has left us. I am still not capable - or rather unwilling - to understand the fact that Amos passed away, because a man like him cannot be dead. His traces are everywhere.
I shouldn't make movies anymore. I should go to a lunatic asylum.
When I film, there are no emotions. That would be the last thing.
I have made 70 or so films. In all my films not a single actor, a single extra, was hurt. Not one. So statistics are on my side when I say I'm clinically sane.
Spirit of immersion and curiosity and awe and participation is something which Timothy Treadwell and I have in common.
The beauty of Netflix is on the 28th of October they push a button and the film will be in 190 countries at the same moment in 17 languages.
We have volcanoes also in our immediate neighborhood. I wish we didn't have to travel that far. Probably the kind of magnitude and awesome raw power of them is very fascinating, and of course it's very cinematic.
We do not see the danger clearly enough that we develop images adequate to our state of civilization. When you watch TV, you know instantly that there's something wrong with the images. When you open a magazine and see the ads, you know there's something wrong with the images. And it's unhealthy and not good and outright dangerous, in my opinion.
I am a product of my failures.
Everything that I've done was prudent and never has anyone gotten hurt in my films - not a single actor, not a single extra, ever.
The paintings are not just on flat walls - you have these enormous niches, bulges and protrusions, as well as stalactites and stalagmites. The effect of the three-dimensionality is phenomenal. It's a real drama which the artists of the time understood, and they used it for the drama of their paintings.
The power of a volcano when it erupts is so evident, so visible, so palpable.
I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.
I despise formal restaurants. I find all of that formality to be very base and vile. I would much rather eat potato chips on the sidewalk.
Chauvet Cave is rather like the awakening of the modern human soul or I would say the awakening of modern human culture. Because Neanderthal men who still rode the landscape parallel to the people who did these paintings didn't have culture. There's no evidence of culture, no symbolic depiction, no evidence of music, no evidence of sculptures, no evidence of religious beliefs.
I do whatever pushes me hardest. It's coming at me and I try to. . . it's like uninvited guest and I have to wrestle them out the door or through the window - get them out and get over with them quickly.
I think psychology and self-reflection is one of the major catastrophes of the twentieth century.
I have been in lots of very intense life situations. I have been shot at, and I have been hungry, and I have been in solitude, and I have also briefly been behind bars. So in a way, I know the heart of men.
I am not an artist and never have been. Rather I am like a craftsman and feel very close to the mediaeval artisans who produced their work anonymously and who, along with their apprentices, had a true feeling for the physical materials they were working with.