Werner Herzog, now 82, is not just another filmmaker; he is one of the most unorthodox and respected directors of our time. With over 70 documentaries and feature films to his name, the German director has consistently pushed the boundaries of cinema, exploring themes from the absurdity of human existence to the formidable powers of nature. His unconventional approach often draws inspiration from his own life experiences, which were shaped by the harsh realities of poor childhood.
Born on September 5, 1942, just two weeks before the Allies bombed Munich, Herzog was raised by his mother who fled with him and his brother to the Bavarian mountains. Struggling with poverty, Herzog recalls, “We were hanging at her skirt, wailing, ‘Boys, if I could cut it out of my ribs, I would cut it out of my ribs, but I can’t.’” This early exposure to hardship instilled within him the desire to explore the extremes of human experience through film.
Herzog's cinematic career began with what he calls "more expropriation than theft"; he took his first camera from a film school in Munich, and he has not looked back since. From his early years, his films have reflected his vision, leading to creations such as the iconic "Aguirre, the Wrath of God" (1972). This film, which follows conquistadors spiraling deep within the Amazonian jungle, was completed due to Herzog's sheer willpower, famously selling his shoes to buy fish for his crew. "I would give away everything,” he explained, showcasing the lengths he would go to fulfill his artistic vision.
Continuing his run of ambitious storytelling, Herzog soon began work on the multi-year project of "Fitzcarraldo". This 1982 masterpiece follows the obsessive dreams of its titular character, played by Klaus Kinski, who aims to build an opera house deep within the Amazon. Unlike conventional filmmakers, Herzog opted to purchase and physically move a 340-ton steamship over the mountains rather than utilize special effects, stating firmly, "It would have been a lousy film." This project, fraught with difficulties from border wars to natural disasters, encapsulates Herzog's ethos of completing his vision regardless of the obstacles he faces. He triumphed at the Cannes Film Festival, winning the Best Director award for his work on "Fitzcarraldo".
Herzog's projects have not only earned acclaim but have also developed his signature filmmaking style. His documentaries, which include renowned works like "Grizzly Man" and "The Enigma of Kaspar Hauser" tend to depict strange and haunting narratives. With his distinct voice, he engages the audience by asking contemplative questions, such as, "Do fish have souls?" and, "What do they think about?" during segments of his optical explorations. “With the commentary I’m putting in there spontaneously… I put something onto your soul or your dreams,” he remarked to Anderson Cooper, illustrating how he sees the narration as poetry embedded within the visuals.
Herzog's latest venture, "The Ghost Elephants," showcases mythic elephants roaming the landscapes of southern Africa, yet he insists, “It's not just about wildlife; it's a fantasy of elephants.” Accompanied by editor Marco Capaldo, Herzog's process of creation is as unconventional as his subject matter. Instead of traditional storyboarding, Herzog watches all footage once, live-noting his thoughts as they spring to mind. If he marks something with three exclamation points, he famously states, “If this is not in this film, I have lived in vain.” His emphasis on spontaneity not only differentiates his documentaries but aligns them with his artistic philosophy.
Despite his advanced age, Herzog is still driven by the flame of artistic expression. He continues to impart his wisdom to younger generations through his unique 11-day workshops, aptly titled "film school for rogues." Recently held on the Spanish island of La Palma, these workshops focus less on standard filmmaking techniques and more on embracing raw experiences. Herzog encourages aspiring filmmakers to take unconventional jobs ranging from bouncers to lunatic asylum wardens, claiming, “You do not become a poet by being in college.” The lessons are pragmatically rebellious; Herzog even teaches participants how to forge shooting permits and suggests they carry bolt cutters, underscoring the lengths one might need to go to realize creative visions.
Yet, for all of his eccentricities, Herzog’s work remains grounded within the human experience. That drive has led him to explore the innards of volcanoes, discover ancient cave paintings buried under ice, and examine the tragic relationships humans have with nature. "Nature is utterly indifferent," he insists, taking on the role of anthropologist as much as filmmaker. His legacy extends beyond the films themselves; Herzog has authored numerous books detailing his experiences, with titles like "Conquest of the Useless" chronicling his tumultuous time during the making of "Fitzcarraldo."
If there’s any truth in Herzog’s assertion about the impact of images and stories, it’s clear: he’s made waves not just within the art of cinema, but within the fabric of artistic and human inquiry. Herzog's unique vision continues to resonate, promising to leave echoes of questions and reflections long after the credits roll.
Herzog's dedication stands as both instruction and inspiration. His portrayal of grit and dreaminess continues to challenge not just how films are made, but the very essence and possibility of storytelling itself. Whether documenting the extraordinary or personal trials, Herzog remains steadfast, defining what it means to be not just a filmmaker, but also a true artist.