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Werner Herzog Interview: Making a Living and Teaching Filmmaking. Werner Herzog is not your average film school teacher.

His film Fitzcarraldo, for example, is about a guy who has the visionary idea to haul a riverboat over a mountain in the Amazon rainforest. Herzog decided, for the.

A self- taught director, his globe- trotting adventures and chaotic man- versus- nature dramas are not the easiest projects to transform into a curriculum, but that hasn’t stopped him from giving it a shot. Whether it’s through his Rogue Film School or, most recently, as one of the A- list instructors featured on online learning empire Master. Class, Herzog has no interest in teaching the technical elements of moviemaking.

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The German- born filmmaker, whose career includes epics like “Fitzcarraldo” as well as idiosyncratic documentaries such as “Cave of Forgotten Dreams”  wants to create what he calls “soldiers of cinema,” and the path to victory can be stoking his students’ appetites for experiencing life. READ MORE: 1. 2 Things I Learned at Werner Herzog’s Rogue Film School. He finds his lessons in obscure corners: Herzog touts Icelandic poetry for its ability to teach editing, and believes digging a hole in the ground contains more creative power than any app (more on that later). You might think some of this advice might carry just a teensy element of self- parody from the man who also delighted the world with his audiobook reading of would- be children’s book “Go The Fuck To Sleep.” But that’s not the case, as his Master. Class clearly demonstrates. Watching Herzog across the 2.

However, there’s real power in watching him explain how a set of “laconic, fragmentary, dense” poems can help unlock the mysteries of editing. And he clearly loves his work: as he breaks down Marlon Brando’s first scene in “Viva Zapata!”, Herzog’s Teutonic features transform into a vision of unfiltered delight. That alone may be worth the price of admission. Indie. Wire spoke with Herzog earlier this week in Los Angeles. Showtime Full That Darn Cat Online Free.

You’ve been offering your own educational program through the Rogue Film School since 2. Probably. I haven’t counted the years. I do it very infrequently, very rarely, whenever I have time for doing it, and I have to announce it five months ahead of time. I have to know that I’m not under contract for doing anything, that I’m not shooting a film right now. Since I’m a working man, it’s sometimes not easy to settle on a date far in advance because I’m announcing and I get written applications and I also ask everyone to send a film.

So for the Rogue Film School, it’s not just amateurs. They’re all, in a way, professionals already. I watch every single film, so I need my time to go through hundreds and hundreds of films each time I announce it. How much of your film school is reflected in the Master.

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Class curriculum? I think much of the content, yes.

Although, the Rogue Film School has some completely wild and irreverent sort of content. How to, for example, pick a lock, how to forge a shooting permit and things like this, the Master. Class doesn’t do.

Of course, in the Rogue Film School, you do have direct physical contact with a very small, select group of students who can immediately voice their problems, their obstructives, their questions. So it’s a different type, but the spirit of it is the same, although the Rogue school goes much, much wilder. You’re very quick to point out in the Master.

Class that not only did you not go to film school, you didn’t even know that movies were necessarily a thing until, I think you were, 1. And nowadays, we have a world where we literally have babies interacting with screens before they can walk. What do you think that means for the future of filmmaking? Yeah, that’s a big question because we have to see the repercussions in the lives of the babies or the toddlers who are interacting with screens. So ask me this question in 2. I still believe that children, instead of exploring the world through applications on cell phones, should dig a hole in the ground.

Literally dig a hole in the ground? Yes. I mean what I am saying. Dig a hole in the ground.

That’s how you examine the real world. Doing it through screens has certain dangers if you do not have the capability and conceptual thinking to create your filters. I believe that there will be a dangerous absence of filters in these children who are too young to explore the world only through the internet and through screens. What do you think the risks are when you don’t develop the filters? That you have no clue about the real world and you are not anchored in anything. There’s of course a huge danger.

And by the inverse of that, if you’re digging a hole in the ground, what’s that teaching you? I don’t know. I’m just talking about… and strangely enough, the one who kept talking about this was Roger Ebert. Whenever I met him, he would discuss with me children who should dig a hole in the ground, find a tree and build themselves a treehouse. To actually have some experience and not treat it as an abstract.

I just wanted to point out. I’m not the only one. Roger Ebert was a champion of children who should dig a hole in the ground. And he’s completely right, you don’t have to explain it any further. Werner Herzog teaches a Master. Classcourtesy of Master. Class. Today, we’re seeing many of the best and brightest filmmakers moving toward television and even blockbusters as their second act.

Once they prove themselves in making personal films, they go on to make something for Marvel. What do you think of that? Well, the results are very convincing. There are very, very good TV series and for the first time, filmmakers, me not included, but filmmakers have a chance to develop big, epic films — big, epic stories with ramifications and different strata in it. In other words, “War and Peace” by Tolstoy all of a sudden is possible again, but now in filmmaking because you have six years of… I don’t know, eight films per year, whole series. And some of the results are very convincing. It’s not the only thing we should do as filmmakers, but it is a fine possibility, no doubt.

So you it’s legitimate and a worthy thing to do? Sure. Not for me, but I see a point. Has anybody ever offered you that? Yes, but the basic, big stories were not good enough. What did you talk about doing? I’m not going to give you details because these projects are still in search of filmmakers and I would diminish the possibilities. I’m not going to give you names.

Would you want to work on that kind of scale?