Renowned director Werner Herzog asserts that filmmakers must possess a certain degree of what he terms “good criminal energy” to succeed in their craft.
In his youth, Herzog recognized his passion for filmmaking and sought out a camera, which he procured from a film school in Munich. He describes the act of taking it as “more expropriation than theft.”
With over 70 documentaries and feature films to his credit, Herzog, at the age of 82, continues to create unique cinematic works that challenge conventional boundaries. He is also dedicated to imparting his knowledge through what he refers to as his “film school for rogues.”
Herzog emphasizes the necessity of stepping beyond societal norms in the filmmaking process.
Born into poverty during World War II in Munich, Herzog has never received formal training as a director. His early life was marked by hardship; his mother fled with him and his brother to the Bavarian mountains while their father served in the German army. Living conditions were dire, with the family often lacking electricity and basic sanitation.
Reflecting on his upbringing, Herzog recalls moments of hunger, recounting how his mother would express her helplessness to provide for them.
Despite not seeing a film until he was 11, Herzog quickly became captivated by American B movies—low-budget productions that would later influence his own work.
Herzog began directing in the 1960s, but it was his 1972 film “Aguirre, the Wrath Of God” that garnered international attention. The narrative follows a group of conquistadors who spiral into madness while searching for a mythical city of gold in the Amazon rainforest. Herzog completed the film under challenging circumstances, demonstrating immense determination, even resorting to selling his shoes to feed the crew.
“It’s not typical for a director to have to go that far,” Herzog noted. “I would barter anything I had for the sake of the project.”
He views the outcome of filmmaking as “loot” rather than a monetary reward, explaining that profits are often reinvested into future projects.
In 1979, Herzog embarked on the ambitious project “Fitzcarraldo,” which spanned three arduous years. The film tells the story of an Irishman, played by Klaus Kinski, obsessed with building an opera house in the Amazon. The character’s plan involves transporting a massive ship over a mountain to harvest rubber.
Despite suggestions from 20th Century Fox to utilize a botanical garden in San Diego for filming, Herzog insisted on authenticity and opted to physically move a 340-ton steamship during production.
The project faced numerous obstacles, including a border conflict between Peru and Ecuador, financial troubles, plane crashes, and conflicts among local indigenous groups. Herzog’s unwavering vision often strained relationships among cast and crew, culminating in a documentary titled “Burden of Dreams,” which chronicles the production’s tumultuous journey.
Kinski’s volatile temperament posed additional challenges; Herzog described him as explosive yet transformative for the screen. Despite their tumultuous dynamic, Herzog ultimately received accolades for his direction when “Fitzcarraldo” premiered in 1982.
Over the past sixty years, Herzog has explored diverse themes through his films, tackling subjects ranging from an unhinged New Orleans cop to a man living among grizzly bears—who ultimately met a tragic end. His work often delves into surreal examinations of nature’s might, human frailty, and psychological extremes.
Herzog’s insatiable curiosity has led him to some of the most remote corners of the Earth, capturing landscapes beneath Antarctic ice and documenting oil fires in Kuwait post-Gulf War. He has braved danger to film volcanic eruptions and ancient cave paintings.
In addition to directing, Herzog has authored several books based on his experiences, including “Conquest of the Useless,” derived from journals kept during “Fitzcarraldo.” He has also taken on acting roles in various productions, including Disney’s “The Mandalorian” and provided voices for characters on “The Simpsons.”
Herzog remains active in filmmaking and is currently collaborating with editor Marco Capaldo on a documentary focusing on a legendary herd of elephants in southern Africa.
In September, Herzog conducted an 11-day workshop on La Palma, an island off Africa known for its volcanic terrain. This “film school for rogues” emphasized creative vision and resilience rather than traditional filmmaking techniques.
Herzog encourages aspiring filmmakers to seek unconventional means of financial support for their projects. He suggests they embrace real-life experiences rather than opting for mundane office jobs—urging them to work in places like nightclubs or ranches.
“You do not become a poet by studying in a classroom,” he asserted.
He also shares practical skills with his students, such as forging shooting permits and lock picking—skills he believes are essential for filmmakers.
“Carrying bolt cutters is advisable,” he added. “This journey is not for those lacking courage.”
