"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.

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

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.

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

"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.

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.

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."

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.

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.

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.

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.