WERNER HERZOG PRESS CONFERENCE
The search for truth through the cinematic art, his ambitions as a filmmaker and the special bonds that connect him with Greece were among the subjects of the press conference given by Werner Herzog on Friday, November 20, at the Thessaloniki Museum of Photography, in the framework of the 50th TIFF. Present were TIFF’s president George Corraface and director Despina Mouzaki.
“We are delighted to host the Werner Herzog retrospective this year. I don’t know whether I should describe him as a hunter, a warrior or an athlete of the cinema, but it is certain that he faces every film as a challenge and becomes bigger than life. At the same time, he manages to make the audience of his creations feel bigger than life, too,” remarked TIFF’s president George Corraface.
In the opening speech of the event, coordinated by journalish and film critic Giorgos Krassakopoulos, Ms Mouzaki underlined: “Nobody else seems to have wandered so far, to have touched his audience so deep as Werner Herzog. His artistic work and life are navigators through what seems to be uncharted territory, hence their charm. For over 40 years, Herzog is searching for his own truth, a deeper understanding of existence and art. His work knows no other destination than his insistence to try new things, to subvert the ordinary, and always leave a door open to the unexpected. Having a career counting 35 feature films, his work –and luckily himself- show no sign of fatigue or inactivity. It is a great honor and joy to have him with us this year, showcasing all his work at the Festival’s anniversary celebration, and Mr Herzog adding two new films in his cinematography. I sincerely hope he stays active and restless for many years and I would like to heartily thank him for being with us in Thessaloniki.”
Next, the German filmmaker took the floor to thank Thessaloniki for the warm hospitality and related an event from his first visit to the city. “When I was 15 years old, I set off to visit Greece and follow the traces of my grandfather, who had been an archeologist at Kos island. I reached Thessaloniki after a night-long hitch-hike ride, however, when I was 100 meters far from the seafront, my nose started to bleed. A lady from a nearby flat saw me, brought me a towel to stop my bleeding nose, took care of me and offered me some coffee. This is my first impresion from Greece and Thessaloniki,” Werner Herzog said, adding: “I shot my first full-length feature film, Signs of Life, in Kos and Crete, and I have also made a short film in Greek.”
Regarding the possibility to return to Greece in order to make a film, the renowned artist underlined: “Had I a good story, I would come and start shooting within 5 minutes. To me, the most important thing is the story you want to tell. You are activated towards transforming it into a film.” Commenting upon this, Werner Herzog related how Grizzly Man occurred: “I was at a friend’s house who happened to be a producer and while searching for my car keys I accidentally saw a few pages scattered on his desk; it was the story of a bear devouring a couple. This coincidence was enough to draw my interest and make me want to shoot this film.”
Werner Herzog also pointed out that many of his documentaries are fiction films ‘in disguise,’ and referred to searching for the inner truth. “Not even philosophy or mathematics can provide you with a clear answer as to what the truth is, that is the reason why I try to reach it in every possible way. I firmly believe that illuminated truth reveals itself. You can identify it by distancing from yourself and reach the state of ecstacy. If you can achieve this in cinema, you are on top, you have achieved the best. You may not find truth, but the search fills your existence with meaning, it gives you dignity.”
Talking about his creative ambitions, Werner Herzog stressed: “I want to make films as best as I can, be a good narrator, a good cinema soldier. That’s all.” His reputation, though, has always followed him throughout his career. He added: “I wish I could make films anonymously, like medieval painters who are nameless, known only as ‘the teacher from Cologne who created that triptych,’ for instance. If this could have happened, it would have been my most wonderful experience.”
When asked how he manages to remain creative at the age of 67, with two features films and a short film this year, Werner Herzog attributed this to his experience: “I have learned to film only the shots that I need and avoid unnecessary takes by now, so as to speed the editing process. Besides, digital editing can speed the editing process as fast as my thought. Shooting My Son, My Son, What Have Ye Done took a mere 19 days and editing was completed a few days later, because I worked at nights and on weekends. In all, the whole process from shooting to delivering the film took only five weeks. So, when I hear words of admiration for directors who spend a year and a half in editing a motion picture, I simply think that it must cost the production a fortune.”
The brilliant filmmaker also talked about the role of new technologies in cinema today: “I don’t agree that we are in need of a European cinema revival. There are many great directors in all possible corners of Europe, such as Romania or Austria... Thanks to the new technologies, however, a film is a much less costly business and easier to finance; even 10,000 euros suffice for shooting a film by digital camera. My Son, My Son, What Have Ye Done is shot by digital means, but I must confess that I personally prefer celluloid.”
When asked about the dominant presence of the natural elements in many of his films, Werner Herzog commented: “Indeed, many times my films contain the conflict with nature and man’s effort to defy it, nevertheless, others just exhalt the gradeur of nature.” In replying how tempting the possibility to adapt an Ancient Greek tragedy for the cinema is, Werner Herzog referred to My Son, My Son, What Have Ye Done, saying that it is “a film with many elements from Ancient Greek tragedy.” The German director went on to categorically denounce psychanalysis and Sigmund Freud by noting: “Psychanalysis is most stupid and one of the greatest mistakes of the 20th century. It is my belief that explaining every dark corner of the self is sick, stupid and dangerous. If you light every single niche in your house with blinding light, then the house gets uninhabitable. The same principle applies to man, he becomes unbearable to himself if he analyses every single aspect of his existence. Psychanalysis is like the Inquisition. To me, Freud is responsible for a catastrophy similar to that of the Inquisition.”
During the press conference, Werner Herzog also talked about the Film School he intends to establish: “It will be a wild, non-conformist school, different than existing film academies. It is the product of decades of work, addressed to young artists who take me as a point of reference. I have already compiled a reading list, because this is my message to the young: Read, read, read! Write poetry, read poetry, watch classic films, do not hesitate even to forge your own documents -as I had done in the past in order to obtain consent for making Fitzcarraldo, by forging the Peruvian president’s signature. All these are not just a cinematic stance, it is a life stance. However, I prefer teaching in the middle of the desert than teaching in a proper film school, like the ones I am invited to. Prospective students in my school send me their CV and a 5 minute DVD and I already have hundreds of applications waiting for me in Los Angeles.“
The pioneer director did not fail to talk about his great love for sports which demand great endurance and energy resources. “To step on the boxing ring, I should have 3-4 days off. I like sports that include psysical contact. It is important to attain psysical strength and acquire orientation through sports. For instance, high quality basketball is amazing, it is characterized by an incredible coordination of movements. The artist should have this element in order to comprehend the cast’s ‘choreography’ and the ‘choreography’ of the camera.”
