Werner Herzog’s Utopian Film Academy

Tell me about your ideal film school.

This is something we can talk about later when we discuss Film Lesson, the programmes I made for Austrian television, but let me say here that there are some very basic skills that any filmmaker must have. First of all, learn languages. One also needs to be able to type and to drive a car. It is like the knights of old who had to be able to ride, wield a sword and play the lute. At my Utopian film academy I would have students do athletic things with real physical contact, like boxing, something that would teach them to be unafraid. I would have a loft with a lot of space where in one corner there would be a boxing ring. Students would train every evening from 8 to 10 with a boxing instructor: sparring, somersaults (backwards and forwards), juggling, magic card tricks. Whether or not you would be a filmmaker by the end I do not know, but at least you would come out as an athlete. My film school would allow young people who want to make films to experience a certain climate of excitement of the mind. This is what ultimately creates films and nothing else. It is not technicians that film schools should be producing, but people with a real agitation of mind. People with spirit, with a burning flame within them.

From Herzog on Herzog.

Three of a Perfect Pair — 90 Minutes of King Crimson in Japan, 1984

1 Three Of A Perfect Pair 0:00:27
1a backstage 0:04:36
2 No Warning 0:07:00
3 Larks’ Tongues In Aspic Part III 0:10:56
4 Thela Hun Ginjeet 0:16:05
5 Frame By Frame 0:22:07
6 Matte Kudasai 0:26:07
7 Industry 0:29:37
8 Dig Me 0:36:32
9 Indiscipline 0:40:15
10 Sartori In Tangier 0:50:37
11 Man With An Open Heart 0:54:51
12 Waiting Man 0:58:37
13 Sleepless 1:05:17
14 Larks’ Tongues In Aspic Part II 1:11:34
15 Elephant Talk 1:17:38
16 Heartbeat 1:22:45

Does Werner Herzog subscribe to the belief that his films are art?

So you certainly don’t subscribe to the belief that your films are in any way ‘art films’?

Absolutely not, they are no such thing. I dislike intensely even the concept of artists in this day and age. The last King of Egypt, King Farouk, completely obese in exile, wolfing one lamb leg after another, said something very beautiful: ‘There are no kings left in the world any more, only the King of Hearts, the King of Diamonds, the King of Spades, and the King of Clubs.’ The whole concept of being an artist is also somehow outdated today. There is only one place left where you find artists: the circus. There you can find the trapeze artists, the jugglers, even the hunger artist. Film is not analysis, it is the agitation of the mind; cinema comes from the country fair and the circus, not from art and academicism. I truly feel that in the world of the painter or novelist or film director there are no artists. This is a concept that belongs to earlier centuries, where there was such a thing as virtue and pistol duels at dawn with men in love, and damsels fainting on couches.

Michelangelo, Caspar David Friedrich and Hercules Segers: these men are artists. ‘Art’ is a legitimate concept in their respective eras. They are like the emperors and kings who remain the crucial figures in the history of humankind and whose influence is felt even today, something that certainly cannot be said of monarchies today. I am speaking not about the death of the artist; I just feel that creativity is perceived with something of an outdated and antiquated perspective. That is why I detest the word ‘genius’. It too is a word that belongs to an earlier time and not to our own era. It is a sick concept nowadays, and this is why with utmost caution did I once call Kinski a ‘genius’. My use of the word comes close to my feelings about the man, but the expression itself and the concept behind it is something that heralds from the late eighteenth century and just does not fit comfortably today.

From Herzog on Herzog.