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A vision had seized hold of me, like the demented fury of a hound
that has sunk its teeth into the leg of a deer carcass and is
shaking and tugging so frantically that the hunter gives up trying
to calm him. It was the vision of a large steamship scaling a hill
under its own steam, while above this natural landscape soars the
voice of Caruso...One of the most revered of contemporary
filmmakers, Werner Herzog kept a diary during the making of
"Fitzcarraldo", the lavish 1982 film that tells the story of a
would-be robber baron who pulls a steamship over a hill to access a
rich rubber territory. Later, Herzog spoke of his difficulties when
making the film, including casting problems, reshoots, language
barriers, epic clashes with the star, and the logistics of moving a
320-ton steamship over a hill without the use of special effects.
Fitzcarraldo was hailed by critics around the globe, and won Herzog
the 1982 Outstanding Director Prize at Cannes. "Conquest of the
Useless", his diary on his fever dream in the Amazon jungle, is an
extraordinary glimpse into the mind of a genius during the making
of one of his greatest achievements.
Werner Herzog is the undisputed master of extreme cinema: building
an opera house in the middle of the jungle; walking from Munich to
Paris in the dead of winter; descending into an active volcano;
living in the wilderness among grizzly bears - he has always been
intrigued by the extremes of human experience. From his early
movies to his later documentaries, he has made a career out of
exploring the boundaries of human endurance: what we are capable of
in exceptional circumstances and what these situations reveal about
who we really are. But these are not just great cinematic themes.
During the making of his films, Herzog pushed himself and others to
the limits, often putting himself in life-threatening situations.
As a child in rural Bavaria, a single loaf of bread had to last his
family all week. The hunger and deprivation he experienced during
his early years perhaps explain his fascination with the limits of
physical endurance.All his life, Herzog would embrace risk and
danger, constantly looking for challenges and adventures. Filled to
the brim with memorable stories and poignant observations, Every
Man for Himself and God against All unveils the influences and
ideas that drive his creativity and have shaped his unique view of
the world. This book tells, for the first time, the story of his
extraordinary and fascinating life.
In late November 1974, filmmaker Werner Herzog received a phone
call from Paris delivering some terrible news. German film
historian, mentor, and close friend Lotte Eisner was seriously ill
and dying. Herzog was determined to prevent this and believed that
an act of walking would keep Eisner from death. He took a jacket, a
compass, and a duffel bag of the barest essentials, and wearing a
pair of new boots, set off on a three-week pilgrimage from Munich
to Paris through the deep chill and snowstorms of winter. Of
Walking in Ice is Herzog's beautifully written, much-admired, yet
often-overlooked diary account of that journey. Herzog documents
everything he saw and felt on his quest to his friend's bedside,
from poetic descriptions of the frozen landscape and harsh weather
conditions to the necessity of finding shelter in vacant or
abandoned houses and the intense loneliness of his solo excursion.
Includes, for the first time, Werner Herzog's 1982 "Tribute to
Lotte Eisner" upon her receipt of the Helmut Kautner Prize
In his first novel, Werner Herzog tells a hypnotic tale inspired by
the true story of a Japanese soldier who defended a small island
for twenty-nine years after the end of WWII 1944: Lubang Island,
the Philippines. With Japanese troops about to withdraw, Lieutenant
Hiroo Onoda was given orders by his superior officer: Hold the
island until the Imperial army's return. You are to defend its
territory by guerrilla tactics, at all costs. So began Onoda's long
campaign. Soon weeks turned into months, months into years, and
years into decades - until eventually time itself seemed to melt
away. All the while Onoda continued to fight his fictitious war, at
once surreal and tragic, at first with other soldiers, and then,
finally, alone, a character in a novel of his own making. . . 'An
enthralling novel that explores the nature of time and warfare with
great mastery' Mail on Sunday 'Herzog. . .brilliantly blends fact
and fiction in this fever dream of a novel' Daily Mail 'A literary
jewel set to sparkle against the backdrop of his monumental career
in cinema' i
'A potent, vaporous fever dream; a meditation on truth, lies,
illusion and time' NEW YORK TIMES In his first novel, the great
filmmaker, Werner Herzog, tells the incredible story of a Japanese
soldier who defended a small island for twenty-nine years after the
end of World War II. Hold the island until the Imperial army's
return. You are to defend its territory by guerrilla tactics, at
all costs... There is only one rule: you are forbidden to die by
your own hand. In the event of your capture by the enemy, you are
to give them all the misleading information you can. In 1944, on
Lubang Island in the Philippines, with Japanese troops about to
withdraw, Lieutenant Hiroo Onoda was given orders by his superior
officer. So began Onoda's long campaign, during which he became
fluent in the hidden language of the jungle. Soon weeks turned into
months, months into years, and years into decades - until
eventually time itself seemed to melt away. All the while Onoda
continued to fight his fictitious war, at once surreal and tragic,
at first with other soldiers, and then, finally, alone, a character
in a novel of his own making. 'Herzog's writing bristles with the
same eerie and uncompromising energy as his films. His jungle
pulses with hallucinatory life' Guardian
A poetic meditation on life and death, by one of the most renowned
and respected film-makers and intellectuals of our time. In
November 1974, when Werner Herzog was told that his mentor Lotte
Eisner, the film-maker and critic, was dying in Paris, he set off
to walk there from Munich, 'in full faith, believing that she would
stay alive if I came on foot'. Along the way he recorded what he
saw, how he felt, and what he experienced, from the physical
discomfort of the journey to moments of rapture. It is a remarkable
narrative - part pilgrimage, part meditation, and a confrontation
between a great German Romantic imagination and the contemporary
world. This edition of the book is being published for the first
time as a classic piece of proto-psychogeography, to coincide with
the fortieth anniversary of the legendary director's walk.
"All that I do is go out and look at films and choose the ones I
want to play-films that stimulate, and give some insight into our
lives. I hope that people will come, but if they don't, that's okay
too." Daniel Talbot changed the way the Upper West Side-and
art-house audiences around the world-went to the movies. In Love
with Movies is his memoir of a rich life as the impresario of the
legendary Manhattan theaters he owned and operated and as a highly
influential film distributor. Talbot and his wife, Toby, opened the
New Yorker Theater in 1960, cultivating a loyal audience of film
buffs and cinephiles. He went on to run several theaters including
Lincoln Plaza Cinemas as well as the distribution company New
Yorker Films, shaping the sensibilities of generations of
moviegoers. The Talbots introduced American audiences to
cutting-edge foreign and independent filmmaking, including the
French New Wave and New German Cinema. In this lively, personal
history of a bygone age of film exhibition, Talbot relates how he
discovered and selected films including future classics such as
Before the Revolution, Shoah, My Dinner with Andre, and The
Marriage of Maria Braun. He reminisces about leading world
directors such as Sembene, Godard, Fassbinder, Wenders, Varda, and
Kiarostami as well as industry colleagues with whom he made deals
on a slip of paper or a handshake. In Love with Movies is an
intimate portrait of a tastemaker who was willing to take risks. It
not only lays out the nuts and bolts of running a theater but also
tells the story of a young cinephile who turned his passion into a
vibrant cultural community.
"All that I do is go out and look at films and choose the ones I
want to play-films that stimulate, and give some insight into our
lives. I hope that people will come, but if they don't, that's okay
too." Daniel Talbot changed the way the Upper West Side-and
art-house audiences around the world-went to the movies. In Love
with Movies is his memoir of a rich life as the impresario of the
legendary Manhattan theaters he owned and operated and as a highly
influential film distributor. Talbot and his wife, Toby, opened the
New Yorker Theater in 1960, cultivating a loyal audience of film
buffs and cinephiles. He went on to run several theaters including
Lincoln Plaza Cinemas as well as the distribution company New
Yorker Films, shaping the sensibilities of generations of
moviegoers. The Talbots introduced American audiences to
cutting-edge foreign and independent filmmaking, including the
French New Wave and New German Cinema. In this lively, personal
history of a bygone age of film exhibition, Talbot relates how he
discovered and selected films including future classics such as
Before the Revolution, Shoah, My Dinner with Andre, and The
Marriage of Maria Braun. He reminisces about leading world
directors such as Sembene, Godard, Fassbinder, Wenders, Varda, and
Kiarostami as well as industry colleagues with whom he made deals
on a slip of paper or a handshake. In Love with Movies is an
intimate portrait of a tastemaker who was willing to take risks. It
not only lays out the nuts and bolts of running a theater but also
tells the story of a young cinephile who turned his passion into a
vibrant cultural community.
Nicolas Cage plays a rogue detective who is as devoted to his job as he is at scoring drugs - while playing fast and loose with the law. He wields his badge as often as he wields his gun in order to get his way.
In the aftermath of Hurricane Katrina he becomes a high-functioning addict who is a deeply intuitive, fearless detective reigning over the beautiful ruins of New Orleans with authority and abandon.
Complicating his tumultuous life is the prostitute he loves. Together they descend into their own world marked by desire, compulsion, and conscience.
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Lo and Behold (DVD)
Werner Herzog; Directed by Werner Herzog
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R160
R150
Discovery Miles 1 500
Save R10 (6%)
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Out of stock
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Werner Herzog directs this documentary about the creation of the
Internet and the connected modern world it has spawned. Consulting
experts, Herzog explores the origins of the Internet and looks at
what could lie in store for its future, including whether it would
be possible for humans to live on Mars. The film-maker takes an in
depth look at a myriad of subjects including cybersecurity,
privacy, robots, artificial intelligence, gaming and the
interconnections of the online world and meets those who have had
the unfortunate experience of learning first-hand about the darker
aspects of the modern Internet age.
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The Twilight World - A Novel
Werner Herzog; Translated by Michael Hofmann
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R436
R356
Discovery Miles 3 560
Save R80 (18%)
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Ships in 10 - 15 working days
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Roger Ebert was the most influential film critic in the United
States, the first to win a Pulitzer Prize. For almost fifty years,
he wrote with plainspoken eloquence about the films he loved for
the Chicago Sun-Times, his vast cinematic knowledge matched by a
sheer love of life that bolstered his appreciation of films. Ebert
had particular admiration for the work of director Werner Herzog,
whom he first encountered at the New York Film Festival in 1968,
the start of a long and productive relationship between the
filmmaker and the film critic.Herzog by Ebert is a comprehensive
collection of Ebert's writings about the legendary director,
featuring all of his reviews of individual films, as well as longer
essays he wrote for his Great Movies series. The book also brings
together other essays, letters, and interviews, including a letter
Ebert wrote Herzog upon learning of the dedication to him of
"Encounters at the End of the World;" a multifaceted profile
written at the 1982 Cannes Film Festival; and an interview with
Herzog at Facet's Multimedia in 1979 that has previously been
available only in a difficult-to-obtain pamphlet. Herzog himself
contributes a foreword in which he discusses his relationship with
Ebert. Brimming with insights from both filmmaker and film critic,
Herzog by Ebert will be essential for fans of either of their
prolific bodies of work.
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
Hölderlin. 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 filmmaking Werner 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.
Werner Herzog directs this documentary about the life and work of
Italian composer and Prince of Venosa Carlo Gesualdo. The film
takes a look at Gesualdo's musical career and his controversial
personal life including his murder of his wife and her lover.
Due to the very old age and scarcity of this book, many of the
pages may be hard to read due to the blurring of the original text.
In Werner Herzog's highly anticipated new film, Nicolas Cage plays
a man as devoted to police work as he is to scoring drugs. A
high-functioning addict who is a deeply intuitive, fearless
detective, he ranges over the beautiful ruins of New Orleans with
authority and abandon. Adding to his tumultuous life is the
prostitute he loves (played by Eva Mendes). Together they descend
into their own world marked by desire, compulsion, and conscience.
The result is a singular masterpiece of filmmaking: equally sad and
manicly humorous. In this book devoted to the film, renowned
photographer Lena Herzog's documentation of the film captures the
uniqueness of the director's vision, the set, and the actors. The
volume also includes the script, written by Billy Finkelstein,
reworked by Herzog.
For the first time in English, and in his signature prose poetry,
the film scripts of four of Werner Herzog's early works "Herzog
doesn't write traditional scripts," Film International remarked of
the master filmmaker's Scenarios I and II. "Instead, he writes
scenarios which are like a hybrid of film, fiction, and prose
poetry." Continuing a series that Publishers Weekly pronounced
"compulsively readable . . . equal parts challenging and
satisfying, infuriating and enlightening," Scenarios III presents,
for the first time in English, the shape-shifting scripts for four
of Werner Herzog's early films: Stroszek; Nosferatu, Phantom of the
Night; Where the Green Ants Dream; and Cobra Verde. We can observe
Herzog's working vision as each of these scenarios unfolds in a
form often dramatically different from the film's final version-as,
in his own words, Herzog works himself up into "this kind of frenzy
of high-caliber language and concepts and beauty." With Scenarios I
and II, this volume completes the picture of Herzog's earliest
work, affording a view of the filmmaker mastering his craft, well
on his way to becoming one of the most original, and most
celebrated, artists in his field.
The second in a series: the master filmmaker's prose scenarios for
four of his notable films On 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.
Due to the very old age and scarcity of this book, many of the
pages may be hard to read due to the blurring of the original text.
VI Ein Teil der Untersuchungen wurde in den Jahren 1940-1943 im
Laboratorium fur Frequenzkonstanz (Leiter Dr. R. Bechmann) der
Telefunken-Gesellschaft, Berlin, ausgefuhrt, wobei ich auch an
dieser Stelle meinem verehrten Kollegen, Herrn Prof. Dr. F.
Schroter, dem damaligen Abteilungsdirektor, z. Zt. Paris, fur sein
reges Interesse an meinen Arbeiten und seine tatkraftige
Unterstutzung danken mochte. Weiterhin danke ich Herrn H. Seids fur
die Berechnung der Kurven und Herrn Ing. F. Ruhmann fur das Lesen
einer Korrektur. Ferner mochte ich der Dieterich'schen
Verlagsbuchhandlung fur das bereitwillige Eingehen auf meine
Wunsche und fur die gute Ausstattung des Buches danken. Wiesbaden,
im Februar 1948 W. HERZOG VORWORT ZUR ZWEITEN AUFLAGE Nachdem die
l. Auflage meines Buches sehr positiv aufgenommen worden war, habe
ich micht entschlossen, es durch einige wichtige Ka pitel zu
erganzen. Die Behandlung der Siebketten nach der Betriebspara
metertheorie bringt neue Moglichkeiten fur Kristallfilter. An
vielen Bei spielen werden diese Moglichkeiten untersucht und
geeignete Filter mit neuen Eigenschaften gefunden. Die Zulassung
von Sperrbereichen im Durchlassbereich bietet eine einfache
Bandbreitenvergrosserung. Piezo mechanische Ketten und Beispiele
anderer interessanter ausgefuhrter Filter runden das Buch ab. Um
eine moglichst verstandliche Darstellung habe ich mich bei den
neuen Kapiteln bemuht."
Director Werner Herzog and conductor Riccardo Muti combine with the finest of casts in Rossini's rarely-performed masterpiece, set in feudal sixteenth century Scotland and based on Sir Walter Scott's poem.
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