Werner-Herzog

Nosferatu is a vampire film loosely based on the film by Murnau, a film made in 1922, and it's one of the scariest and most beautiful silent films that you can ever see.

Now, for me as a young German filmmaker, growing up I was raised in a generation after the Second World War. We had no father figures. Our cinema fathers and our real fathers were all caught in the barbarism of the Nazi regime, and the best ones either were murdered or they were exiled, and Murnau was one of those. And I had the feeling, since we had no fathers and since we were orphans, I was an orphan in the flow of cultural history in Germany. There was something interrupted, and that was barbarism. I wanted to connect to the generation of the grandfathers. And for me having connected with the film, Nosferatu, I had the feeling all of the sudden that I had solid ground under my feet. This is why I feel thankful now of anything connecting, I'm going to do alright.

Well, you cannot really ask a mother, "Which one of your children are you most proud of". You love them all, I love all of them, my 72 or so films. And those who are the weakest--some of them are weak and some of them have defects, where they limp--and I defend them more than the others. So, I'm proud of them all.

Well, I would say, reading is some kind of essential prerequisite to everything you do. Whether you are a scientist or a filmmaker, or just a normal human being working in a more "normal" profession. I cannot argue much about it. Read, read, read, read, read. The other side, traveling on foot, nobody does it and what I said will disappear into thin air any moment from now. Traveling on foot has actually given me insight into the world itself. The world reveals itself to one who travel on foot. I can give you one example, you start to understand the heart of men. I was, for a film, at the Johnson Space Center and had to take to five astronauts who had done a space mission in a space shuttle. I wanted to persuade them to be extras in the film in a very strange way. They were sitting in a semi circle when I was taken in and my heart sank that I didn't know "what should I say? what should I do?" I looked around and looked into their faces and all of a sudden I had the feeling, I understand these people. I understand the heart of these men and these women. I said "since I was a child, when I learned how to milk a cow with my own hands, I can tell that since I've traveled on foot and in the meadow first you milk a cow to have something to drink. I know by looking at faces, who is able to milk a cow." I looked at the pilot and said "you sir!" and he burst out in smiles and says "yes, I can milk a cow." Somehow when you make films, you understand the heart of men. In a way you cannot learn it, the world has to teach you. The world does it in it's most intense and deepest way when you when you encounter it by traveling on foot.

I'd like to add that when I travel by foot, I don't do it as a backpacker where you take all your household items with you, your tent, your sleeping bag, your cooking utensils. I travel without any luggage and I do not travel, let's say, the specific trail 2000 miles which is marked. I do traveling for very intense quests in my life. I do that on foot.

No, I'm still in awe, and I think we still could be real friends, as far as our philosophy is apart from each other. He has given us footage that no Hollywood studio, no one with millions of dollars in terms of budgets could have given us. So I think if I stumbled upon his story, I would do it with the same respect, I would do it with the same awe, I would do it with the same sense of responsibility.

That's hard to answer, because I do not follow ideas; I stumble into stories, or I stumble into people who all of the sudden, the situation makes it clear that this is so big, I have to make a film. Very often, films come with uninvited guests, I keep saying like burglars in the middle of the night. They're in your kitchen, something is stirring, you wake up at 3 AM and all of the sudden they come wildly swinging at you.

So, I try to--it's not focusing on ideas, but I know exactly what the problem this is. Once you have an idea, it wouldn't help to sit down and keep brooding, brooding, brooding...just live on but keep it in the back of your mind all the time. Keep connecting little bits and pieces that belong to it. Sometimes it's only a word, sometimes half a line of dialogue, sometimes an image that you squiggle down. And when it kind of in this way materializes, then press yourself with urgency.

When I write a screenplay, I write it when I have a whole film in front of my eyes, and it's very easy for me, and I can write very, very fast. It's almost like copying. But of course sometimes I push myself; I read myself into a frenzy of poetry, reading Chinese poets of the 8th and 9th century, reading old Icelandic poetry, reading some of the finest German poets like Hölderlin. All of this has absolutely nothing to do with the idea of my film, but I work myself up into this kind of frenzy of high-caliber language and concepts and beauty.

And then sometimes I push myself by playing music; in my place it would be, for example, a piano concerto, and I play it and I type on my laptop furiously. But all of it is not a real answer, how do you focus on single idea; I think you have to depart sometimes, and keep it all the time alive somehow.