Werner Herzog Quotes

The big social utopias — Communism, Fascism — have led to incredible disasters. Overpopulation of our planet. You just name it. Destruction of what nature is. All of that started in the 20th century... I do believe that the 20th century, in its entirety, was a mistake.

In mir wühlte eine Verlassenheit, wie Termiten in einem gefallenen Baumstamm.

And yet, in my childhood, there was nothing to indicate anything exceptional except possibly in the negative. I was quiet, reserved, inclined to sudden outbursts of temper; in general, I was a danger to those around me. I was capable of silent brooding, for instance, because I wanted to understand why six times five came to the same thing as five times six. It even seemed to be a general principle, so eleven by fourteen was the same as fourteen by eleven. Why? There was a law hidden in the numbers that I could not wrap my head around until I pictured a rectangle with rows of six pieces by five spread out in front of me, and if you turned the shape by ninety degrees, then the principle became visible.

It takes the poetic imagination to make visible a deeper layer of truth.

An ocean without monsters would be like sleep without dreams.

But his most exciting action was something we witnessed ourselves. At issue were some five tons of contraband coffee, as we were informed much later. At any rate, word had got out, and one night the police were on their way to arrest Siegel Hans. He was able to escape out of a window. All he had on him was his trumpet, and the next morning when it got light, he blew down on his trumpet from the Spitzstein. The police gave chase, but by the time they got to the summit, he was blowing from the cloven top of the Mühlhorn or the peak of the Geigelstein on the other side of the valley. The police, humiliated, called up more and more reinforcements, but Hans continued tooting at them from peak to peak. We heard him. We saw troops of police running through the valley and up the slopes, but neither they nor the officials stationed at the pass got a glimpse of him. He was like a phantom. We children knew why they couldn't catch him. As far as we were concerned, he had run from the Spitzstein all along the border heading into the sunset until he had run right around the whole of Germany to the Geigelstein on its east-facing side. It was the only way he could avoid having to go down into the valley. Twelve days later, he surrendered to the police, but by then, he had a mythic status among his admirers.

Ich las die Übersetzung des Piaveschen Librettos zu Ernani, herausgegeben in Zürich 1952, und im Vorwort steht in atemberaubender Dummheit, man habe die krassesten Unglaubwürdigkeiten ausgemerzt, wo doch gerade das Unfaßbare das Schöne an der Geschichte ist, oder besser: an der Gattung Oper an sich, weil gerade was von keiner auch noch so exotischen Wahrscheinlichkeitsrechnung mehr erfaßbar ist, in der Oper zu einer machtvollen Verwandlung der ganzen Welt in Musik als das Natürliche erscheint.

Auch die großen Gefühle der Oper, die oft als übersteigert abgetan werden, kommen mir eher in die Gegenrichtung aufs äußerste reduziert vor, auf das Archetypische der Gefühle verdichtet, nicht mehr weiter in ihrer Essenz konzentrierbar. Es sind Axiome von Gefühlen. Das ist es, was Oper und Dschungel verbindet.

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¿Cómo hablar con un humano

I have experienced comparable transformations in the realm of communications, beginning with ancient times. I remember the man working for the mayor's office in Wüstenrot in Swabia, a few hours from Munich and Sachrang, where my brother and I later lived for a year with our father. He was the town crier. There's an archaic German word for it. I heard him make his way through the village up to the Raitelberg, ringing his bell to get people's attention. Every three or four houses, he would stop and call out his "Hear ye, hear ye!" and announce official decrees and deadlines. From my early childhood, I knew what radio and newspapers were even though we didn't always have electricity, but I never saw a film. I had no notion of cinema. I didn't know such a thing existed until one day a man with a mobile projector came to us in our one-room village school in Sachrang and showed us

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me fascinan las cajetillas de cigarrillos al borde del camino, sobretodo cuando no están estrujadas, entonces se hinchan ligeramente, adquieren cierto aspecto de cadáveres, los cantos ya no están tan definidos y el celofán se empaña desde dentro, es vapor condensado en gotitas de agua por el frío.

Often he was a joy, and you know, he was one of the few people I ever learned anything from.

Incredible. I didn't know how to calm him down, and then I had an inspiration. I went to my hut, where, for months I had hidden a piece of chocolate. We would almost have killed one another for something like that. I went back to him, going right into his face and ate the chocolate. All of a sudden he was quiet. This was utterly beyond him.

Film is not the art of scholars, but of illiterates.

Actually, for some time now I have given some thought to opening a film school. But if I did start one up you would only be allowed to fill out an application form after you have walked alone on foot, let's say from Madrid to Kiev, a distance of about five thousand kilometres. While walking, write. Write about your experiences and give me your notebooks. I would be able to tell who had really walked the distance and who had not. While you are walking you would learn much more about filmmaking and what it truly involves than you ever would sitting in a classroom. During your voyage you will learn more about what your future holds than in five years at film school. Your experiences would be the very opposite of academic knowledge, for academia is the death of cinema. It is the very opposite of passion.