Werner Herzog's presence in his own films – including the new Cave of Forgotten Dreams – marks him out as a romantic, eager to experience what he's trying to understand
Few film directors seem as directly present in their work as Werner Herzog. Not only does he have an instantly recognisable aesthetic, but unlike most European auteurs of his generation, he has become a familiar face in front of the camera. We are so accustomed to seeing him – playing football with Peruvian indians, arguing with Klaus Kinski, eating his own shoe at Chez Panisse – that we might mistake him for just another "personality", one of the celebrities who parade past at various scales, from cellphone to Times Square, on our screens. Directors are required to be showmen, particularly directors of documentaries, who always have to hustle to finance and screen their work. But Herzog's presence, his insistence on being in the middle of things,...
Few film directors seem as directly present in their work as Werner Herzog. Not only does he have an instantly recognisable aesthetic, but unlike most European auteurs of his generation, he has become a familiar face in front of the camera. We are so accustomed to seeing him – playing football with Peruvian indians, arguing with Klaus Kinski, eating his own shoe at Chez Panisse – that we might mistake him for just another "personality", one of the celebrities who parade past at various scales, from cellphone to Times Square, on our screens. Directors are required to be showmen, particularly directors of documentaries, who always have to hustle to finance and screen their work. But Herzog's presence, his insistence on being in the middle of things,...
- 4/18/2011
- by Hari Kunzru
- The Guardian - Film News
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