HEPWORTH DIRECTORS, 4 EDItION the changing times in a couple of films. But it was not until the last 1909 Tilly the Tomboy(short) few years that she regained her old position In Winterborn, about 1911 Rachel's Sin(short) women and their problems in a maternity ward, and in Ojeblikket, 1914 Blind Fate(short): Unfit or The Strength of the Weak(short) treating the problems of a young couple when it is discovered The Hills Are Calling(short); The Basilisk: His Country woman is dying of cancer, she worked competently within Bidding (short); The Quarry Mystery(short); Time the established genre in Danish films, the problem-oriented popular dmma Great Healer; Morphia the Death Drug(short): Oh My -Ib Monty 1915 The Canker of Jealousy: A Moment of Darkness(short); Court-Martialled; The Passing of a Soul(short); The Bot tle: The Baby on the Barge: The Man Who Stayed at Home, Sweet Lavender, The Golden Pavement; The Outrage: HEPWORTH. Cecil 1916 Trelawney of the Wells; A Fallen Star, Sowing the wind; Annie Laurie: Comin the Rye: The Marriage of Nationality: British. Born: Lambeth, London, 19 March 1874 Willia Ashe, Molly Bawn; The Cobweb 917 The American Heiress; Nearer My God to Thee Career: Patented hand-feed lamp for optical lantern, 1895;assistant projectionist to Birt Acres, 1896; became cameraman for Charles 1918 The Refugee; Tares; Broken in the Wars: The Blindness of Fortune: The Touch of a Child; Boundary House Urban, 1898; formed Hepwix Films at Walton-on-Thames, worked as 1919 The Nature of the Beasr; Sunken Rocks; Sheba; The Forest on actor and director, and patented film developing system; formed the Hill Hepworth Manufacturing Company, 1904: patented Vivaphone"Talk- 1920 Anna the Adventuress: Alfs Button; Helen of Four Gar ing Film device and became first chairman, Kinematograph Manu Mrs. Erricker's Reputation facturer's Association, 1910; founded British Board of Film Censors, 1921 Tinted Venus: Narrow Valley: Wild Heather. Tansy 1911; founded Hepworth Picture Plays, 1919(company goes bank- 1922 The Pipes of Pan; Mist in the Valley; Strangling Threads; upt, 1923); technical advisor and producer, National Screen Service. rothe Rye(second version 1936. Died: In Greenford, Middlesex, 9 February 1953 927 The House of Maney 1929 Roval Remembrances Films as director: 1898 Oxford and Cambridge Boat Race(short); The Interrupted Picnic(short); Exchange ls No Robbery(short); The Imma By HEPWORTH: books- Animated Photography, London, 1898 1899 Express Train in a Railway Cutting(short) Came the Dawn: Memories of a Film Pioneer, New York, 1951 1900 Wiping Something off the Slate(short); The Conjurer and the Boer(short); The Punter's Mishap(short); The Gunpowder By HEPWORTH: articles- Plot(short); Explosion of a Motor Car(short); The Egg Laying Man(short); Clown and Policeman(short); Leap- " My Film Experiences, ' in Pearson's Magazine(London), 1920 frog as Seen by the Frog(short); How It Feels to Be Run . Those Were the Days, " in Penguin Film Review(London), Over(short); The Eccentric Dancer(short); The Bathers no.6,1948 (short); The Sluggard's Surprise(short); The Electricity Cure(short); The Beggar's Deceit(short); The Burning Stable(short); Topsy Turvy Villa(short); The Kiss(short On Hepworth: books- 1901 How the Burglar Tricked the Bobby(short); The Indian Chief and the Seidlitz Powder(short): Comic Grimacer(short) Barnes, John, The Beginnings of Cinema in England, London, 1976. Interior of a Railway Carriage(short): Funeral of Queen Barnes, John, Pioneers of the british Film 1894-1901, London, 1983 ictoria(short): Coronation of King Edward Vll(short); The Glutton's Nightmare(shor On HEPWORTH: articles- 902 The Call to Arms(short ): How to Stop a Motor Car(short) 1903 The Absent-minded Bootblack(short); Alice in Wonderland Cecil Hepworth Comes Through, in Era(London), 3 May 193 (short): Firemen to the Rescue(short): Saturdays Shop- ' Hepworth: His Studios and Techniques, in British Journal of ping(short) Photography(London), 15 and 22 January 1971 1904 The Jonah Man(short) 1905 Rescued by Rover(short); Falsely Accused(short); The Aliens Invasion(short ); A Den of Thieves(short) 1907 A Seaside Girl(short) The son of a famous magic lanternist and photographer named 908 John Gilpin's Ride(short) T.C. Hepworth(who authored an important early volume titled The
HEPWORTH DIRECTORS, 4th EDITION 430 the changing times in a couple of films. But it was not until the last few years that she regained her old position. In Vinterbørn, about women and their problems in a maternity ward, and in Øjeblikket, treating the problems of a young couple when it is discovered that the woman is dying of cancer, she worked competently within an old established genre in Danish films, the problem-oriented popular drama. —Ib Monty HEPWORTH, Cecil Nationality: British. Born: Lambeth, London, 19 March 1874. Career: Patented hand-feed lamp for optical lantern, 1895; assistant projectionist to Birt Acres, 1896; became cameraman for Charles Urban, 1898; formed Hepwix Films at Walton-on-Thames, worked as actor and director, and patented film developing system; formed Hepworth Manufacturing Company, 1904; patented Vivaphone ‘‘Talking Film’’ device and became first chairman, Kinematograph Manufacturer’s Association, 1910; founded British Board of Film Censors, 1911; founded Hepworth Picture Plays, 1919 (company goes bankrupt, 1923); technical advisor and producer, National Screen Service, 1936. Died: In Greenford, Middlesex, 9 February 1953. Films as Director: 1898 Oxford and Cambridge Boat Race (short); The Interrupted Picnic (short); Exchange Is No Robbery (short); The Immature Punter (short); The Quarrelsome Anglers (short); Two Fools in a Canoe (short) 1899 Express Train in a Railway Cutting (short) 1900 Wiping Something off the Slate (short); The Conjurer and the Boer (short); The Punter’s Mishap (short); The Gunpowder Plot (short); Explosion of a Motor Car (short); The EggLaying Man (short); Clown and Policeman (short); Leapfrog as Seen by the Frog (short); How It Feels to Be Run Over (short); The Eccentric Dancer (short); The Bathers (short); The Sluggard’s Surprise (short); The Electricity Cure (short); The Beggar’s Deceit (short); The Burning Stable (short); Topsy Turvy Villa (short); The Kiss (short) 1901 How the Burglar Tricked the Bobby (short); The Indian Chief and the Seidlitz Powder (short); Comic Grimacer (short); Interior of a Railway Carriage (short); Funeral of Queen Victoria (short); Coronation of King Edward VII (short); The Glutton’s Nightmare (short) 1902 The Call to Arms (short); How to Stop a Motor Car (short) 1903 The Absent-minded Bootblack (short); Alice in Wonderland (short); Firemen to the Rescue (short); Saturday’s Shopping (short) 1904 The Jonah Man (short) 1905 Rescued by Rover (short); Falsely Accused (short); The Alien’s Invasion (short); A Den of Thieves (short) 1907 A Seaside Girl (short) 1908 John Gilpin’s Ride (short) 1909 Tilly the Tomboy (short) 1911 Rachel’s Sin (short) 1914 Blind Fate (short); Unfit or The Strength of the Weak (short); The Hills Are Calling (short); The Basilisk; His Country’s Bidding (short); The Quarry Mystery (short); Time the Great Healer; Morphia the Death Drug (short); Oh My Aunt (short) 1915 The Canker of Jealousy; A Moment of Darkness (short); Court-Martialled; The Passing of a Soul (short); The Bottle; The Baby on the Barge; The Man Who Stayed at Home; Sweet Lavender; The Golden Pavement; The Outrage; Iris 1916 Trelawney of the Wells; A Fallen Star; Sowing the Wind; Annie Laurie; Comin’ thro’ the Rye; The Marriage of William Ashe; Molly Bawn; The Cobweb 1917 The American Heiress; Nearer My God to Thee 1918 The Refugee; Tares; Broken in the Wars; The Blindness of Fortune; The Touch of a Child; Boundary House 1919 The Nature of the Beast; Sunken Rocks; Sheba; The Forest on the Hill 1920 Anna the Adventuress; Alf’s Button; Helen of Four Gates; Mrs. Erricker’s Reputation 1921 Tinted Venus; Narrow Valley; Wild Heather; Tansy 1922 The Pipes of Pan; Mist in the Valley; Strangling Threads; Comin’ Thro’ the Rye (second version) 1927 The House of Marney 1929 Royal Remembrances Publications By HEPWORTH: books— Animated Photography, London, 1898. Came the Dawn: Memories of a Film Pioneer, New York, 1951. By HEPWORTH: articles— ‘‘My Film Experiences,’’ in Pearson’s Magazine (London), 1920. ‘‘Those Were the Days,’’ in Penguin Film Review (London), no. 6, 1948. On HEPWORTH: books— Barnes, John, The Beginnings of Cinema in England, London, 1976. Barnes, John, Pioneers of the British Film 1894–1901, London, 1983. On HEPWORTH: articles— ‘‘Cecil Hepworth Comes Through,’’ in Era (London), 3 May 1935. ‘‘Hepworth: His Studios and Techniques,’’ in British Journal of Photography (London), 15 and 22 January 1971. *** The son of a famous magic lanternist and photographer named T.C. Hepworth (who authored an important early volume titled The
DIRECTORS, 4 EDITION HERZOG Book of the Lantern). Cecil Hepworth was-along with Robert W. U.S. National Aeronautics and Space Administration; founded Wer- Paul-the best known and most important of early British film ner Herzog Filmproduktion, 1966; walked from Munich to Paris to pioneers. In the first twenty years of British cinema, Hepworths place visit film historian Lotte Eisner, 1974. Awards: Bundesfilmpreis, is easy to determine. He was a major figure who wrote the first British and Silver Bear, Berlinale, for Signs of Life, 1968; Bundespreis, and book on cinematography, Animated Photography, the A B.C. of the Special Jury Prize, Cannes Festival, for Every Man for Himself and Cinematograph(published in 1897) and who produced Rescued by God against All, 1975; Best Director, Cannes Festival, for Fitzcarraldo, Rover, which is to British cinema what D.w. Griffith's The adven- 1982. Address: Turkenstr. 91, D-80799 Munich, Germany tures of Dollie is to the American film industry. But as the industry grew, Cecil Hepworth failed to grow along with it, and as the English critic and historian Ernest Betts has written, "although a craftsman Films as Director(beginning 1966, films are produced or co-produced and a man of warm sympathies, an examination of his career shows by Werner Herzog Filmproduktion) an extremely limited outlook compared with Americans or his 1962 Herakles(+ pr, sc) A cameraman before turning to production in the late 1890s, 1964 Spiel im Sand (Game in the Sand)(unreleased)(+ pr, sc) Heppy, as he was known to his friends and colleagues, founded the 1966 Die beispiellose verteidigung der Festung Deutschkreuz(The first major British studio at Walton-on-Thames(which was later to Unprecedented Defense of the Fortress of Deutschkreuz become Nettlefold Studios). He experimented with sound films before 1910 and was also one of the few British pioneers to build up 1967 Lebenszeichen(Signs of Life)(+ sc, pr) his own stable of stars, not borrowed from the stage, but brought to 1968 Letzte Worte(Last Words)(+ pr, sc): Massnahmen gegen fame through the cinema. Alma Taylor, Chrissie White, Stewart Fanatiker(Precautions against Fanatics)(+ pr, sc) Rome, and Violet Hopson were his best known"discoveries. So 1969 Die fliegenden Arzte von Ostafrika(The Flying Doctors of omnipotent was Hepworth in British cinema prior to the First World East Africa)(+ pr, sc); Fata Morgana(Mirage)(+ sc, pr) War that major American filmmakers such as Larry Trimble and 1970 Auch Zwerge haben klein angefangen(Even Dwarfs Started Florence Turner were eager to associate with him when they jour- Small(+ pr, sc, mu arrangements ); Behinderte Zukunft need to England from the United States to produce films (Handicapped Future)(+ pr, sc) Hepworths problem and the cause of his downfall was shared 1971 Land des schweigens und der Dunkelheit (Landof silence and with many other pioneers. He did not move with the times. His films Darkness)(+ pr, sc) were always exquisitely photographed and beautiful to look at, but 1972 Aguirre, der Zorn Gottes(Aguirre, the Wrath of God)(+ pr, sc) they were totally devoid of drama. The editing techniques which he 1974 Die grosse Ekstase des Bildschnitzers Steiner(The Grear had displayed in Rescued by Rover were forgotten by the teens. His Ecstasy of the Sculptor Steiner)(+ pr, sc); Jeder fair sich productions were all too often like the magic lantern presentations of und Gott gegen alle(Every Man for Himself and God his father, lifeless creations featuring slow dissolves from one se- 976deegainst All; The Enigma of Kaspar Hauser)(+ pr, sc) quence or even one bit of action to the next, even when it was obvious 1976 How Much Wood Would a Woodchuck Chuck(+ pr, sc):Mir to others that quick cuts were needed. Hepworth appeared to despise mir will keiner spielen( No One Will Play with Me)(+ pr, anything that would bring movement to his films, preferring that the sc): Herz aus Glas(Heart of Glass)(+ pr, co-Sc, bit role as amera linger on the pictorial beauty of the scene. Nowhere is this glass carrier) more apparent than in Hepworth's best-known feature, Comin'thro 1977 La Soufriere(+ pr, sc, narration, appearance) the Rye(which he filmed twice, in 1916 and 1922). As Iris Barry was 978 Stroszek(+ pr, sc) forced to admit when writing of the latter version it isa most awf 1979 Nosferatu-Phantom der Nacht(Nosferatu, the Vampire) film. Bankruptcy and a closed mind drove Cecil Hepworth from the ( pr, sc, bit role as monk): Woyzeck (+ pr, sc) industry which he had helped to create. He returned late in life to 1980 Woyzeck; Glaube und Wahrung( Creed and Currency upervise the production of trailers for National Screen Service and 1981 Fitzcarraldo(+ pr, sc) also served as chairman of the History Research Committee of the 1983 Where the Green Ants Dream(Wo Die Griinen Ameisen British Film Institute, at which time he also wrote his autobiography, Came the dawn 1984 Ballade vom Kleinen Soldaten( Ballad of the Little Soldier) Gasherbrum-Der leuchtende berg ( Gasherbru-The Dark Glow of the Mountains) Gaulois (The French) HERZOG. Werner 989 Es ist nicht leicht ein Gott zu sein(It Isn'I Easy Being God) 1990 Echos aus Einem Dustern Reich(Echoes from a Somber Nationality: German. Born: Werner Stipetic in Sachrang, 5 Septem- 1991 Schrie aus Stein(Scream of Stone ); Jag Mandir(The Eccen- ber 1942. Education: Classical Gymnasium, Munich, until 1961 tric Private Theatre of the Maharajah of Udaipur) University of Munich, early 1960s Family: Married jourmalist Martje 1992 Lektionen in Finsternis(Lessons of Darkness) Grohmann, one son. Career: Worked as a welder in a steel factory for 1993 Bells from the Deep( glocken aus der Tiefe
DIRECTORS, 4 HERZOG th EDITION 431 Book of the Lantern), Cecil Hepworth was—along with Robert W. Paul—the best known and most important of early British film pioneers. In the first twenty years of British cinema, Hepworth’s place is easy to determine. He was a major figure who wrote the first British book on cinematography, Animated Photography, the A.B.C. of the Cinematograph (published in 1897) and who produced Rescued by Rover, which is to British cinema what D.W. Griffith’s The Adventures of Dollie is to the American film industry. But as the industry grew, Cecil Hepworth failed to grow along with it, and as the English critic and historian Ernest Betts has written, ‘‘although a craftsman and a man of warm sympathies, an examination of his career shows an extremely limited outlook compared with Americans or his contemporaries.’’ A cameraman before turning to production in the late 1890s, ‘‘Heppy,’’ as he was known to his friends and colleagues, founded the first major British studio at Walton-on-Thames (which was later to become Nettlefold Studios). He experimented with sound films before 1910 and was also one of the few British pioneers to build up his own stable of stars, not borrowed from the stage, but brought to fame through the cinema. Alma Taylor, Chrissie White, Stewart Rome, and Violet Hopson were his best known ‘‘discoveries.’’ So omnipotent was Hepworth in British cinema prior to the First World War that major American filmmakers such as Larry Trimble and Florence Turner were eager to associate with him when they journeyed to England from the United States to produce films. Hepworth’s problem and the cause of his downfall was shared with many other pioneers. He did not move with the times. His films were always exquisitely photographed and beautiful to look at, but they were totally devoid of drama. The editing techniques which he had displayed in Rescued by Rover were forgotten by the teens. His productions were all too often like the magic lantern presentations of his father, lifeless creations featuring slow dissolves from one sequence or even one bit of action to the next, even when it was obvious to others that quick cuts were needed. Hepworth appeared to despise anything that would bring movement to his films, preferring that the camera linger on the pictorial beauty of the scene. Nowhere is this more apparent than in Hepworth’s best-known feature, Comin’ thro’ the Rye (which he filmed twice, in 1916 and 1922). As Iris Barry was forced to admit, when writing of the latter version, it is ‘‘a most awful film.’’ Bankruptcy and a closed mind drove Cecil Hepworth from the industry which he had helped to create. He returned late in life to supervise the production of trailers for National Screen Service, and also served as chairman of the History Research Committee of the British Film Institute, at which time he also wrote his autobiography, Came the Dawn. —Anthony Slide HERZOG, Werner Nationality: German. Born: Werner Stipetic in Sachrang, 5 September 1942. Education: Classical Gymnasium, Munich, until 1961; University of Munich, early 1960s. Family: Married journalist Martje Grohmann, one son. Career: Worked as a welder in a steel factory for U.S. National Aeronautics and Space Administration; founded Werner Herzog Filmproduktion, 1966; walked from Munich to Paris to visit film historian Lotte Eisner, 1974. Awards: Bundesfilmpreis, and Silver Bear, Berlinale, for Signs of Life, 1968; Bundespreis, and Special Jury Prize, Cannes Festival, for Every Man for Himself and God against All, 1975; Best Director, Cannes Festival, for Fitzcarraldo, 1982. Address: Turkenstr. 91, D-80799 Münich, Germany. Films as Director (beginning 1966, films are produced or co-produced by Werner Herzog Filmproduktion) 1962 Herakles (+ pr, sc) 1964 Spiel im Sand (Game in the Sand) (unreleased) (+ pr, sc) 1966 Die beispiellose Verteidigung der Festung Deutschkreuz (The Unprecedented Defense of the Fortress of Deutschkreuz) (+ pr, sc) 1967 Lebenszeichen (Signs of Life) (+ sc, pr) 1968 Letzte Worte (Last Words) (+ pr, sc); Massnahmen gegen Fanatiker (Precautions against Fanatics) (+ pr, sc) 1969 Die fliegenden Ärzte von Ostafrika (The Flying Doctors of East Africa) (+ pr, sc); Fata Morgana (Mirage) (+ sc, pr) 1970 Auch Zwerge haben klein angefangen (Even Dwarfs Started Small) (+ pr, sc, mu arrangements); Behinderte Zukunft (Handicapped Future) (+ pr, sc) 1971 Land des Schweigens und der Dunkelheit (Land of Silence and Darkness) (+ pr, sc) 1972 Aguirre, der Zorn Göttes (Aguirre, the Wrath of God) (+ pr, sc) 1974 Die grosse Ekstase des Bildschnitzers Steiner (The Great Ecstasy of the Sculptor Steiner) (+ pr, sc); Jeder für sich und Gott gegen alle (Every Man for Himself and God against All; The Enigma of Kaspar Hauser) (+ pr, sc) 1976 How Much Wood Would a Woodchuck Chuck (+ pr, sc); Mit mir will keiner spielen (No One Will Play with Me) (+ pr, sc); Herz aus Glas (Heart of Glass) (+ pr, co-sc, bit role as glass carrier) 1977 La Soufrière (+ pr, sc, narration, appearance) 1978 Stroszek (+ pr, sc) 1979 Nosferatu—Phantom der Nacht (Nosferatu, the Vampire) (+ pr, sc, bit role as monk); Woyzeck (+ pr, sc) 1980 Woyzeck; Glaube und Währung (Creed and Currency) 1981 Fitzcarraldo (+ pr, sc) 1983 Where the Green Ants Dream (Wo Die Grünen Ameisen Traümen) 1984 Ballade vom Kleinen Soldaten (Ballad of the Little Soldier); Gasherbrum—Der leuchtende Berg (Gasherbrum—The Dark Glow of the Mountains) 1987 Cobra Verde (+ sc) 1988 Wodaabe—Die Hirten der Sonne (Herdsmen of the Sun); Les Gaulois (The French) 1989 Es ist nicht leicht ein Gott zu sein (It Isn’t Easy Being God) 1990 Echos aus Einem Dustern Reich (Echoes from a Somber Kingdom) 1991 Schrie aus Stein (Scream of Stone); Jag Mandir (The Eccentric Private Theatre of the Maharajah of Udaipur) 1992 Lektionen in Finsternis (Lessons of Darkness) 1993 Bells from the Deep (Glocken aus der Tiefe)
HERZOG DIRECTORS, 4 EDItION 是一“图 Werner Herzog 1994 Die Verwandlung der Welt in Musik(The Transformation of Cobra Verd Von Gehen im Eis(Of Walking in Ice), London, 1994 995 Tod fiir finf Stimmen(Death for Five Voices)(+ sc) 1997 Little Dieter Needs to Fly(+ sc, Narrator) By herzoG: articles- 1999 Mein liebster Feind-Klaus Kinski 2000 Invincible(+ co-sc) Rebellen in Amerika, in Filmstudio(Frankfurt), May 1964. Mit den wolfen heulen, in Filmkritik(Munich), July 1968 Publications Warum ist uberhaupt Seiendes und nicht vielmehr Nichts?, in Kino(West Berlin), March/April 1974. Interview with S. Murray, in Cinema Papers(Melbourne), Decem- By HERzOG: books- ber 1974 Every Man for Himself, interview with D. L Overbey, in Sight Werner Herzog: Drehbiicher I, Munich, 1977. and Sound (London), Spring 1975 Verner Herzog: Drehbiicher ll, Munich 1977 Interview with Michel Ciment, in Positif(Paris), May 1975. Sur le chemin des glaces: Munich-Paris du. 23.11 au 14.12.1974 L'Enigme de Kaspar Hauser, on cutting continuity and dialogue, in Paris. 1979 Werner Herzog: Stroszek, Nosferatu: Zwei Filmerzahlungen Signs of Life: Werner Herzog, interview with Jonathan Cott, in Munich. 1979. Rolling Stone(New York), 18 November 1976. Screenplays. New York, 1980 Aguirre, la colere de Dieu, on cutting continuity and dialogue, in Fitzcarraldo: The Original Story, Seattle, 1983 Avant-Scene du Cinema(Paris), 15 June 1978 432
HERZOG DIRECTORS, 4th EDITION 432 Werner Herzog 1994 Die Verwandlung der Welt in Musik (The Transformation of the World into Music) 1995 Tod für fünf Stimmen (Death for Five Voices) (+ sc) 1997 Little Dieter Needs to Fly (+ sc, Narrator) 1999 Mein liebster Feind—Klaus Kinski 2000 Invincible (+ co-sc) Publications By HERZOG: books— Werner Herzog: Drehbücher I, Munich, 1977. Werner Herzog: Drehbücher II, Munich 1977. Sur le chemin des glaces: Munich-Paris du. 23.11 au 14.12.1974, Paris, 1979. Werner Herzog: Stroszek, Nosferatu: Zwei Filmerzählungen, Munich, 1979. Screenplays, New York, 1980. Fitzcarraldo: The Original Story, Seattle, 1983. Cobra Verde, Munich, 1987. Vom Gehen im Eis (Of Walking in Ice), London, 1994. By HERZOG: articles— ‘‘Rebellen in Amerika,’’ in Filmstudio (Frankfurt), May 1964. ‘‘Neun Tage eines Jahres,’’ in Filmstudio (Frankfurt), September 1964. ‘‘Mit den Wölfen heulen,’’ in Filmkritik (Munich), July 1968. ‘‘Warum ist überhaupt Seiendes und nicht vielmehr Nichts?,’’ in Kino (West Berlin), March/April 1974. Interview with S. Murray, in Cinema Papers (Melbourne), December 1974. ‘‘Every Man for Himself,’’ interview with D. L. Overbey, in Sight and Sound (London), Spring 1975. Interview with Michel Ciment, in Positif (Paris), May 1975. L’Énigme de Kaspar Hauser, on cutting continuity and dialogue, in Avant-Scène du Cinéma (Paris), June 1976. ‘‘Signs of Life: Werner Herzog,’’ interview with Jonathan Cott, in Rolling Stone (New York), 18 November 1976. Aguirre, la colère de Dieu, on cutting continuity and dialogue, in Avant-Scène du Cinéma (Paris), 15 June 1978
DIRECTORS, 4 EDITION HERZOG 'I Feel That I,m Close to the Center of Things ' interview with L. Carroll, Noel. ""Herzog, presence, and paradox, in Persistence of O"Toole, in Film Comment(New York), November/Decem- Vision(Maspeth, New York), Fall 1985 ber1979. Kennedy, Harlan, "" Amazon Grace, in Film Comment(New York) Interview with B Steinborn and R. von Naso, in Filmfaust(Frank September/October 1986. furt), February/March 1982. Davidson, David, Borme out of Darkness: The Documentaries of Interview with G. Bechtold and G. Griksch, in Filmfaust(Frankfurt) Werner Herzog, in Film Criticism(Meadville, Pennsylvania) October/November 1984 no.1/2,1987 Interview in Time Out (London), 20 April 1988 Mouton, Jan, Werner Herzogs Stroszek: A Fairy-Tale in an Age of lo e il mio cinema, in Filmcritica(Siena), March 1990. Disenchantment, in Literature/Film Quarterly(Salisbury, Mary Interview with Bion Steinborn, in Filmfaust(Frankfurt am Main), land), vol 15, no 2, 1987 July-October 1990 Caltvedt, Lester, Herzogs Fitzcarraldo and the rubber era, in nterview with Z. Nevelos and P. Snee, in Filmkultura(Budapest), Film and History(New York), vol. 18, no 4, 1988. June 1994 Herzog Issue"of Post Script (Jacksonville, Florida), Summer 1988 Operni patos a Blaise Pascal. Rozhovor s Wernerem Herzogem, Elsaesser, Thomas, Werner Herzog: Tarzan Meets Parsifal, in an interview with Tomas Liska. in Film a Doba(prague),win- Monthly Film Bulletin( London), May 1988 L'enfer vert. an interview with Bernard Genin and others. in Stiles, Victoria M, Fact and Fiction: Natures Endgame in Werne Herzogs Aguirre, the Wrath of God, in Literature/Film quar- Telerama(Paris), 5 April 1995 terly(Salisbury), July 1985 On HERzoG: books- Uhrik, Stefan, "Werner Herzog o ryzyku filmowania, in Kino (Warsaw), July 1991 Pezzotta, Alberto, La realta e il mito, in Filmcritica(Siena) Greenberg, Alan, Heart of Glass, Munich, 1976. Schutte, Wolfram, and others, Herzog/Kluge/Straub, vienna, 1976. May1992. Franklin, James. New german Cinema: From Oberhausen to Ham- Klerk, Nico de, and others, De helden van de jaren zeventig burg Boston, 1983 Skrien(Amsterdam), June-July 1992. Phillips, Klaus, editor, New German Filmmakers: From Oberhausen Iskusstvo Kino(Moscow ) November 1993 through the 1970s, New York. Andrew, Geoff, " "Plight Relief, in Time Out(London), 17 April 1996 orrigan, Timothy, The Films of Wemer Herzog: Between Mirage Hogue, Peter, " "Genre-busting Documentaries as Movies, in Film Ind History, New York, 1986. Comment(New York), July-August 1996 Elsaesser. Thomas. New German Cinema: A History London. 1989 Stiles, Victoria M,"Woyzeck in Focus: Werner Herzog and His Murray, Bruce A and Christopher J. wickham, editors, Framing the Critics, in Literature/Film Quarterly(Salisbury), vol. 24 Past: The Historiography of German Cinema and Television 3,1996 Carbondale. Illinois. 1992. wiberg, Matts, in Filmhaftet(Stockholm), vol 26, no. 104, 1998 McCarthy, Todd, " My Best Friend(Mein liebster Feind), in Variety On herzog articles- New York ), 24 May 1999 Herzog Issue of Cinema(zurich), vol. 18, no 1, 1972 On HERZoG: films- Wetzel, Kraft, Werner Herzog, in Kino(West Berlin), Al 1973 Weisenborn. Christian and Erwin Keusch. Was ich bin sind meine Bachmann, Gideon, The Man on the volcano, in Film quarterly Filme. Munich. 1978 Berkeley ), Autumn 1977 Blank, Les, Werner Herzog eats His Shoe, U.S., 1980 Dorr, John, The Enigma of Werner Herzog, in Millimeter(New Blank, Les, Burden of Dreams, U.S,1982 York), October 1977. Walker, B, Werner Herzogs Nosferatu, in Sight and Soun London), Autumn 1978 Andrews, N,""Dracula in Delft, in American Film(Washington D. C), October 1978. erner Herzog, more than any director of his generation, has Morris, George, ""Werner Herzog, in International Film Guide through his films embodied German history, character, and cultural 1979, London,1978. richness while references to verbal and other visual arts would be out Cleere E. **Three Films rner Herzog, in Wide Angle(Ath of place in treating most film directors, they are key to understanding v.ns, Ohio), vol. 3, no 4. 1980 Herzog. For his techniques he reaches back into the early part of the Van Wert, W.F., ""Hallowing the Ordinary, Embezzling the Every- twentieth century to the Expressionist painters and filmmakers; back day: Werner Herzog's Documentary Practice, in Quarterly to the Romantic painters and writers for the luminance and allegorization Review of Film Studies(Pleasantville, New York), Spring 1980 of landscape and the human figure; even further beyond into six- Davidson. d."borne out of darkness. The documentaries of teenth-century Mannerist extremes of Mathias Gunwald; and through- Werner Herzog, 'in Film Criticism(Edinboro, Pennsylvania), out his nations heritage for that peculiarly Germanic grotesque. In all Fall 1980 these technical and expressive veins, one finds the qualities of "Werner Herzog, in Film Dope(London), March 1982 exaggeration, distortion, and the sublimation of the ugly Goodwin, M."Herzog the God of wrath. in American Film More than any, grotesque"presents itself as a useful term to (Washington, D. C ), June 1982. define Herzogs work. His use of an actor like Klaus Kinski, whos
DIRECTORS, 4 HERZOG th EDITION 433 ‘‘I Feel That I’m Close to the Center of Things,’’ interview with L. O’Toole, in Film Comment (New York), November/December 1979. Interview with B. Steinborn and R. von Naso, in Filmfaust (Frankfurt), February/March 1982. Interview with G. Bechtold and G. Griksch, in Filmfaust (Frankfurt), October/November 1984. Interview in Time Out (London), 20 April 1988. ‘‘Io e il mio cinema,’’ in Filmcritica (Siena), March 1990. Interview with Bion Steinborn, in Filmfaust (Frankfurt am Main), July-October 1990. Interview with Z. Nevelõs and P. Sneé, in Filmkultura (Budapest), June 1994. ‘‘Operní patos a Blaise Pascal. Rozhovor s Wernerem Herzogem,’’ an interview with Tomáš Liška, in Film a Doba (Prague), Winter 1994. ‘‘L’enfer vert,’’ an interview with Bernard Génin and others, in Télérama (Paris), 5 April 1995. On HERZOG: books— Greenberg, Alan, Heart of Glass, Munich, 1976. Schütte, Wolfram, and others, Herzog/Kluge/Straub, Vienna, 1976. Franklin, James, New German Cinema: From Oberhausen to Hamburg, Boston, 1983. Phillips, Klaus, editor, New German Filmmakers: From Oberhausen through the 1970s, New York, 1984. Corrigan, Timothy, The Films of Werner Herzog: Between Mirage and History, New York, 1986. Elsaesser, Thomas, New German Cinema: A History, London, 1989. Murray, Bruce A., and Christopher J. Wickham, editors, Framing the Past: The Historiography of German Cinema and Television, Carbondale, Illinois, 1992. On HERZOG: articles— ‘‘Herzog Issue’’ of Cinema (Zurich), vol. 18, no. 1, 1972. Wetzel, Kraft, ‘‘Werner Herzog,’’ in Kino (West Berlin), April/ May 1973. Bachmann, Gideon, ‘‘The Man on the Volcano,’’ in Film Quarterly (Berkeley), Autumn 1977. Dorr, John, ‘‘The Enigma of Werner Herzog,’’ in Millimeter (New York), October 1977. Walker, B., ‘‘Werner Herzog’s Nosferatu,’’ in Sight and Sound (London), Autumn 1978. Andrews, N., ‘‘Dracula in Delft,’’ in American Film (Washington, D.C.), October 1978. Morris, George, ‘‘Werner Herzog,’’ in International Film Guide 1979, London, 1978. Cleere, E., ‘‘Three Films by Werner Herzog,’’ in Wide Angle (Athens, Ohio), vol. 3, no. 4, 1980. Van Wert, W.F., ‘‘Hallowing the Ordinary, Embezzling the Everyday: Werner Herzog’s Documentary Practice,’’ in Quarterly Review of Film Studies (Pleasantville, New York), Spring 1980. Davidson, D., ‘‘Borne out of Darkness: The Documentaries of Werner Herzog,’’ in Film Criticism (Edinboro, Pennsylvania), Fall 1980. ‘‘Werner Herzog,’’ in Film Dope (London), March 1982. Goodwin, M., ‘‘Herzog the God of Wrath,’’ in American Film (Washington, D.C.), June 1982. Carroll, Noel, ‘‘Herzog, Presence, and Paradox,’’ in Persistence of Vision (Maspeth, New York), Fall 1985. Kennedy, Harlan, ‘‘Amazon Grace,’’ in Film Comment (New York), September/October 1986. Davidson, David, ‘‘Borne out of Darkness: The Documentaries of Werner Herzog,’’ in Film Criticism (Meadville, Pennsylvania), no. 1/2, 1987. Mouton, Jan, ‘‘Werner Herzog’s Stroszek: A Fairy-Tale in an Age of Disenchantment,’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 15, no. 2, 1987. Caltvedt, Lester, ‘‘Herzog’s Fitzcarraldo and the Rubber Era,’’ in Film and History (New York), vol. 18, no. 4, 1988. ‘‘Herzog Issue’’ of Post Script (Jacksonville, Florida), Summer 1988. Elsaesser, Thomas, ‘‘Werner Herzog: Tarzan Meets Parsifal,’’ in Monthly Film Bulletin (London), May 1988. Stiles, Victoria M., ‘‘Fact and Fiction: Nature’s Endgame in Werner Herzog’s Aguirre, the Wrath of God,’’ in Literature/Film Quarterly (Salisbury), July 1989. Uhrík, Štefan, ‘‘Werner Herzog o ryzyku filmowania,’’ in Kino (Warsaw), July 1991. Pezzotta, Alberto, ‘‘La realtà e il mito,’’ in Filmcritica (Siena), May 1992. Klerk, Nico de, and others, ‘‘De helden van de jaren zeventig,’’ in Skrien (Amsterdam), June-July 1992. Iskusstvo Kino (Moscow), November 1993. Andrew, Geoff, ‘‘Plight Relief,’’ in Time Out (London), 17 April 1996. Hogue, Peter, ‘‘Genre-busting. Documentaries as Movies,’’ in Film Comment (New York), July-August 1996. Stiles, Victoria M., ‘‘Woyzeck in Focus: Werner Herzog and His Critics,’’ in Literature/Film Quarterly (Salisbury), vol. 24, no. 3, 1996. Wiberg, Matts, in Filmhäftet (Stockholm), vol. 26, no. 104, 1998. McCarthy, Todd, ‘‘My Best Friend (Mein liebster Feind),’’ in Variety (New York), 24 May 1999. On HERZOG: films— Weisenborn, Christian, and Erwin Keusch, Was ich bin sind meine Filme, Munich, 1978. Blank, Les, Werner Herzog Eats His Shoe, U.S., 1980. Blank, Les, Burden of Dreams, U.S., 1982. *** Werner Herzog, more than any director of his generation, has through his films embodied German history, character, and cultural richness. While references to verbal and other visual arts would be out of place in treating most film directors, they are key to understanding Herzog. For his techniques he reaches back into the early part of the twentieth century to the Expressionist painters and filmmakers; back to the Romantic painters and writers for the luminance and allegorization of landscape and the human figure; even further beyond into sixteenth-century Mannerist extremes of Mathias Günwald; and throughout his nation’s heritage for that peculiarly Germanic grotesque. In all these technical and expressive veins, one finds the qualities of exaggeration, distortion, and the sublimation of the ugly. More than any, ‘‘grotesque’’ presents itself as a useful term to define Herzog’s work. His use of an actor like Klaus Kinski, whose
HILL DIRECTORS, 4 EDItION singularly ugly face is sublimated by Herzogs camera, can best be thwarted by the natives who cut the ropes, sending it careening described by such a term. Persons with physical defects like deafness downstream through the rapids in a sacrifice to their river deity. The and blindness, and dwarfs, are given a type of grandeur in Herzogs boat ends up uselessly back where it began: a massive symbol of artistic vision. Herzog, as a contemporary German living in the human futility. Only the old gramophone shown playing records of shadow of remembered Nazi atrocities, demonstrates a penchant for Caruso throughout the jungle voyage offers-like the spanish probing the darker aspects of human behavior. Herzogs vision noblewoman in Aguirre-Herzog's vision of beauty that rarely renders the ugly and horrible sublime, while the beautiful is omitted and, when included, destroyed or made to vanish (like the beautiful Herzogs Australian film Where Green Ants Dream does penand Spanish noblewoman in Aguirre) or any taint of Western Imperialism that Fitzcarraldo might have fo Closely related to the grotesque in Herzogs films is the influence given him. The director comes down hard against the modern way of of German expressionism on him. Two of Herzogs favorite actors, life. This film is saved from tendentiousness by movements of human Klaus Kinski and Bruno s, have been compared to Conrad Veidt and comedy through which a very sympathetic hero learns from the Fritz Kortner, prototypical actors of German expressionistic dramas Native Australians, and by Herzogs much-loved 360-degree pans and films during the teens and 1920s. Herzogs actors make highly over the flatness of the Outback. This technique is also used by stylized, indeed often stock, gestures; in close-ups, their faces are set Herzog to convey the sense of flat immensity of sub-Saharan Africa in in exaggerated grimaces. Herdsmen of the Sun, a lyrical celebration of the Wodaabe tribesmen, The characters of Herzogs films often seem deprived of free will, who bend Western gender expectations by having the men and merely reacting to an absurd universe. Any exertion of free will in women reverse roles in courtship. Here, too, Herzog evidences his action leads ineluctably to destruction, death, or at best frustration by German heritage by following in the African footsteps of his greatest---if the unexpected. The director is a satirist who demonstrates what is most problematic--filmmaking compatriot: Leni riefenstahl, whose wrong with the world but, as yet, seems unable or unwilling to last work was a documentary of a sub-Saharan tribe to the east of the articulate the ways to make it right; indeed, one is at a loss to find in Wodaabe is world view any hope, let alone prescription, for improvement. Herzogs mode of preser has been termed by some critics as -Rodney Farnsworth romantic and by others as realistic. This seeming contradiction can be resolved by an approach that compares him with those romantic artists who first articulated elements of the later realistic approach Critics have found in the quasi-photographic paintings of Caspar HILL. Walter David Friedrich an analogue for Herzogs super-realism. As with hese artists, there is an aura of unreality in Herzogs realism. Nationality: American Born: Long Beach, California, 10 January Everything is seen through a camera that rarely goes out of intense hard focus. Often it is as if his camera is deprived of the normal range 1942. Education: Attended University of Americas, Mexico City of human vision, able only to perceive part of the whole through 1959-60: Michigan State University, B.A., 1962, M.A., 1963. Ca- reer: Began in films as writer: directed first film. Hard Times. 1975 a telescope or a microscope. created Dog and Cat TV series, 1977. Address: c/o Lone wolf Co. In this strange blend of romanticism and realism lies the paradoxi cal quality of Herzogs talent: he, unlike Godard, Resnais, or Altman, 8800 Sunset Boulevard, Suite 210, Los Angeles, CA 90069, U.S.A has not made great innovations in film language; if his style is to be defined at all it is as an eclectic one; and yet, his films do have a distinctive stylistic quality. He renders the surface reality of things Films as director: with such an intensity that the viewer has an uncanny sense of seeing he essence beyond. Aguirre, for example, is unrelenting in its 1975 Hard Times(The Streetfighter)(+ co-sc) concentration on filth, disease, and brutality; and yet it is also an 978 The Driver(+sc) allegory which can be read on several levels: in terms of Germany 1979 The Warriors(co-sc) der the Nazis, America in Vietnam, and more generally on the 1980 The Long Riders bestiality that lingers beneath the facade of civilized conventions. In 1981 Southen Comfort( co-sc) one of Herzogs romantic tricks within his otherwise realistic vision, 98248Hrs.(+sc) he shows a young Spanish noblewoman wearing an ever-pristine 1984 Streets of Fire(+ sc, pr) velvet dress amid mud and squalor; further, only she of all the rest is 1985 Brewster's Millions not shown dying through violence and is allowed to disappear almost 1986 Crossroads mystically into the dense vegetation of the forest: clearly, she repr 987 Extreme Prejudice sents that transcendent quality in human nature that incorruptib endures. This figure is dropped like a hint to remind us to look beyond 1989 Johnny Handsome; Tales from the Crypt (Tv series) mere surface (+CO-exec pr One finds, however, in Fitzcarraldo, Herzogs supreme apothem- 1990 Another 48 Hrs sis of the spiritual dimensions of the rain forest. As much in the production as in the substance of the film, the Western Imperialist will 1993 Geronimo: An American Legend(+ pr) to reshape the wilderness is again and again met with reversals that 1995 Wild Bill (+sc) render that will meaningless. The protagonists titanic effort to get 1996 Last Man Standing(+ sc) a riverboat over a hill from one river to another is achieved only to be 2000 Supernova
HILL DIRECTORS, 4th EDITION 434 singularly ugly face is sublimated by Herzog’s camera, can best be described by such a term. Persons with physical defects like deafness and blindness, and dwarfs, are given a type of grandeur in Herzog’s artistic vision. Herzog, as a contemporary German living in the shadow of remembered Nazi atrocities, demonstrates a penchant for probing the darker aspects of human behavior. Herzog’s vision renders the ugly and horrible sublime, while the beautiful is omitted and, when included, destroyed or made to vanish (like the beautiful Spanish noblewoman in Aguirre). Closely related to the grotesque in Herzog’s films is the influence of German expressionism on him. Two of Herzog’s favorite actors, Klaus Kinski and Bruno S., have been compared to Conrad Veidt and Fritz Kortner, prototypical actors of German expressionistic dramas and films during the teens and 1920s. Herzog’s actors make highly stylized, indeed often stock, gestures; in close-ups, their faces are set in exaggerated grimaces. The characters of Herzog’s films often seem deprived of free will, merely reacting to an absurd universe. Any exertion of free will in action leads ineluctably to destruction, death, or at best frustration by the unexpected. The director is a satirist who demonstrates what is wrong with the world but, as yet, seems unable or unwilling to articulate the ways to make it right; indeed, one is at a loss to find in his world view any hope, let alone prescription, for improvement. Herzog’s mode of presentation has been termed by some critics as romantic and by others as realistic. This seeming contradiction can be resolved by an approach that compares him with those Romantic artists who first articulated elements of the later realistic approach. Critics have found in the quasi-photographic paintings of Caspar David Friedrich an analogue for Herzog’s super-realism. As with these artists, there is an aura of unreality in Herzog’s realism. Everything is seen through a camera that rarely goes out of intense, hard focus. Often it is as if his camera is deprived of the normal range of human vision, able only to perceive part of the whole through a telescope or a microscope. In this strange blend of romanticism and realism lies the paradoxical quality of Herzog’s talent: he, unlike Godard, Resnais, or Altman, has not made great innovations in film language; if his style is to be defined at all it is as an eclectic one; and yet, his films do have a distinctive stylistic quality. He renders the surface reality of things with such an intensity that the viewer has an uncanny sense of seeing the essence beyond. Aguirre, for example, is unrelenting in its concentration on filth, disease, and brutality; and yet it is also an allegory which can be read on several levels: in terms of Germany under the Nazis, America in Vietnam, and more generally on the bestiality that lingers beneath the facade of civilized conventions. In one of Herzog’s romantic tricks within his otherwise realistic vision, he shows a young Spanish noblewoman wearing an ever-pristine velvet dress amid mud and squalor; further, only she of all the rest is not shown dying through violence and is allowed to disappear almost mystically into the dense vegetation of the forest: clearly, she represents that transcendent quality in human nature that incorruptibly endures. This figure is dropped like a hint to remind us to look beyond mere surface. One finds, however, in Fitzcarraldo, Herzog’s supreme apotheosis of the spiritual dimensions of the rain forest. As much in the production as in the substance of the film, the Western Imperialist will to reshape the wilderness is again and again met with reversals that render that will meaningless. The protagonist’s titanic effort to get a riverboat over a hill from one river to another is achieved only to be thwarted by the natives who cut the ropes, sending it careening downstream through the rapids in a sacrifice to their river deity. The boat ends up uselessly back where it began: a massive symbol of human futility. Only the old gramophone shown playing records of Caruso throughout the jungle voyage offers—like the Spanish noblewoman in Aguirre—Herzog’s vision of beauty that rarely escapes being rendered meaningless by an otherwise absurd universe. Herzog’s Australian film Where Green Ants Dream does penance for any taint of Western Imperialism that Fitzcarraldo might have given him. The director comes down hard against the modern way of life. This film is saved from tendentiousness by movements of human comedy through which a very sympathetic hero learns from the Native Australians, and by Herzog’s much-loved 360-degree pans over the flatness of the Outback. This technique is also used by Herzog to convey the sense of flat immensity of sub-Saharan Africa in Herdsmen of the Sun, a lyrical celebration of the Wodaabe tribesmen, who bend Western gender expectations by having the men and women reverse roles in courtship. Here, too, Herzog evidences his German heritage by following in the African footsteps of his greatest—if most problematic—filmmaking compatriot: Leni Riefenstahl, whose last work was a documentary of a sub-Saharan tribe to the east of the Wodaabe. —Rodney Farnsworth HILL, Walter Nationality: American. Born: Long Beach, California, 10 January 1942. Education: Attended University of Americas, Mexico City, 1959–60; Michigan State University, B.A., 1962, M.A., 1963. Career: Began in films as writer; directed first film, Hard Times, 1975; created Dog and Cat TV series, 1977. Address: c/o Lone Wolf Co., 8800 Sunset Boulevard, Suite 210, Los Angeles, CA 90069, U.S.A. Films as Director: 1975 Hard Times (The Streetfighter) (+ co-sc) 1978 The Driver (+ sc) 1979 The Warriors (co-sc) 1980 The Long Riders 1981 Southern Comfort (co-sc) 1982 48 Hrs. (+ sc) 1984 Streets of Fire (+ sc, pr) 1985 Brewster’s Millions 1986 Crossroads 1987 Extreme Prejudice 1988 Red Heat (+ sc, pr) 1989 Johnny Handsome; Tales from the Crypt (TV series) (+ co-exec pr) 1990 Another 48 Hrs. 1992 Trespass 1993 Geronimo: An American Legend (+ pr) 1995 Wild Bill (+ sc) 1996 Last Man Standing (+ sc) 2000 Supernova