I'll Be Happy When I'm Dead
Ferguson: Did knowing Roger inform your filmmaking in any way?
Herzog: "It didn't inform my filmmaking, per se, but it widened my scope to look into corners that I hadn't taken seriously yet. And it's the same reason, I guess, that I tried to tell him to watch the Anna Nicole Smith show. And, by the way, also Wrestlemania. And he asked about Wrestlemania, and I said I do believe there's a crude form of new drama emerging that we do not understand yet. And it's not the fights that are so important. What is more important is the show around it. The owner of the franchise stepping into the ring with four blondes with breast implants. And his wife is being wheeled in a wheelchair, paralyzed and blind. And he makes fun of his wife! And the son of the owner of the franchise interfering and fighting his father in the ring. And we had an understanding over this."
Happy 70th Birthday Werner!

Happy 70th Birthday Werner!

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PERUCHO, I FUCKIN’ LOVE YOU MAN

Klaus Kinski and Werner Herzog travel down the Amazon looking for great wealth, both set to the music of Popol Vuh:

341. Werner Herzog’s Aguirre, the Wrath of God: Favorite film out of Europe. Kinski’s madness and Herzog’s vision are both brilliant, but let’s give it up for Perucho! Little mother, two by two, wafts the wind on my hair.

342. Werner Herzog’s Fitzcarraldo: I like Jason Robards and Mick Jagger, but no way could their combined talent best Klaus Kinski’s performance here. An incredible film where the making of, Burden of Dreams, might be more fascinating than the film itself. Regardless, they both have the highest recommendation.

Late 70s atmospheric masterpieces from Werner Herzog:

334. Werner Herzog’s Heart of Glass: One of Herzog’s least accessible films, it is mostly know for being the one where he hypnotized all the actors with the exception of the lead. The performances are mesmerizing and Popol Vuh’s score here might be their best in a Herzog film. Criminally underrated.

335. Werner Herzog’s Nosferatu the Vampyre: Kinski’s only in about, I don’t know, twenty minutes of the film, but his presence completely dominates it. Beautifully filmed shadows go along wonderfully with the lovely face of Isabelle Adjani.