Bøger af Werner Herzog

Den verdenskendte tyske filminstruktør Werner Herzog debuterer som skønlitterær forfatter som 80-årig med denne fascinerende fortælling, som er halvt autentisk, halvt fiktiv, om den tapre og til døden loyale japanske soldat Hiroo Onoda. Lige før krigens afslutning, på den filippinske ø Lubang, fik Onoda ordre til at opbygge en guerilla­styrke i junglen og ALDRIG overgive sig … 29 år efter kom han nødtvungent ud af junglen igen, stadig overbevist om at krigen var i gang. I et næsten meditativt sprog udødeliggør Werner Herzog Onodas kamp for overlevelse dybt inde i junglen under umulige eksistensvilkår mod den ikke længere eksisterende fjende. En glødende, dansende fortælling om meningen med livet.

A poetic meditation on life and death, by one of the most renowned and respected film-makers and intellectuals of our time. It is a remarkable narrative - part pilgrimage, part meditation, and a confrontation between a great German Romantic imagination and the contemporary world.

In this short sequel to his acclaimed memoir, the legendary filmmaker and global cultural icon explores one of his favourite topics: the nature of truth.What if a lie is told to reveal some underlying truth? Are feelings that seem inappropriate, such as the hysteria following the death of a celebrity, any less real or true than the grief we feel over the death of a loved one? Even if the plot of an opera seems preposterous, can't it still express strong human emotions that ring true with the audience?At the heart of the book lies Werner Herzog's concept of 'ecstatic truth' - a truth that is often hidden behind the facts and our conceptions of reality but can be gleaned through the poetic imagination, in art, literature and cinema, when we open ourselves up to an aesthetic experience.Written in Herzog's inimitable tyle, the stories, anecdotes and reflections take us from present-day deep fakes and the opportunities and perils of AI to Ancient Egyptian and Rome, where rulers resorted to lies and propaganda in the same way as governments do today; from Scott's and Amundson's race to the South Pole to alien abduction stories and the making of Herzog's own films.With its singular vision and unique voice, The Future of Truth is a compelling meditation on the relationship between fact and fiction, evidence and the imagination, by one of the most fascinating and idiosyncratic thinkers in the world today.

Den verdenskendte filminstruktør og fortæller Werner Herzog spørger til den mest mærkelige af alle fortællinger: den om sandheden. Hvad er sandt? I en verden, der er forvirret af falske nyheder, politisk manipulation og kunstig intelligens, som sætter sin lid til kolde fakta og alligevel har opfundet poesi og film, må sandhed betyde mere end blot nøgtern empiri. Fra en opdigtet sejr i slaget af farao Ramses til den moderne myte om bortførelse af rumvæsner, fra ekstatiske øjeblikke på filmsettet til hans møder med virkeligheden gennem dages vandring, sammenfletter Werner Herzog på en enestående måde fascinerende overvejelser og erindringer. En bog for alle, der kan undre sig.

I november 1974 modtager Werner Herzog et opkald fra Paris. Lotte Eisner, den berømte filmhistoriker, er alvorligt syg. Herzog beslutter sig for at gå fra München til Paris alene, udstyret kun med en rygsæk, et kompas og en notesbog. Han lover sig selv, at hvis han kan gå hele vejen - en 800 kilometer lang tur - vil 'Eisnerinden' overleve. Trods kulden, sneen og de udfordringer, Herzog møder undervejs, fortsætter han mod Paris. Han kæmper mod tørst, smertefulde ben, betændte akillessener, storm og regn, men hans krop fortsætter. Om at gå i is med undertitlen München – Paris, 23.11. til 14.12.1974 er en bemærkelsesværdig bog om livet og døden og ikke mindst den indsigt, man får fra kroppen. Det er en historie om landskabet og dets beboere samt forfatterens egne indre kampe. En film skabt med ord, en litterær klassiker. Werner Herzog (f. 1942) er fra Sachrang i Bayern. Han er kendt som filminstruktør og har lavet både dokumentarfilm og spillefilm. Til hans mest kendte film hører Auch Zwerge haben klein angefangen, Aguirre, der Zorn Gottes, Stroszek, Fitzcarraldo, Grizzly Man og Encounters at the End of the World. Til hans værk hører også en række bøger, blandt andre Die Eroberung des Nutzlosen, Tusmørkets verden, selvbiografien Hver for sig og Gud mod alle og ikke mindst Om at gå i is.

A fever-dream journal documenting the making of cinema's most infamous production, from the world's most infamously visionary director: Werner Herzog. In 1982, the visionary film director, Werner Herzog, released Fitzcarraldo, a lavish film about a would-be rubber baron who pulls a 320-ton steamship over a mountain. Hailed instantly by critics around the globe as a masterpiece, Fitzcarraldo won Herzog the 1982 Outstanding Director Prize at the Cannes Film Festival, affirming Herzog's reputation as one of the most revered and enigmatic filmmakers of his time.Conquest of the Useless is the diary Herzog kept during the making of Fitzcarraldo, compiled from June 1979 to November 1981. Emerging as if out of an Amazonian fever dream during filming, Herzog's writings are an extraordinary documentary unto themselves. Strange and otherworldly events are recounted by the filmmaker. The crew's camp in the heart of the jungle is attacked and burned to the ground; the production of the film clashes with a border war; and, of course, Herzog unravels the impossible logistics of moving a 320-ton steamship over a hill without the use of special effects.In his preface, Herzog warns that the diary entries collected in Conquest of the Useless do not represent "reports on the actual filming" but rather "inner landscapes, born of the delirium of the jungle." Thus begins an extraordinary glimpse into the mind of a genius during the making of one of his greatest achievements.

Newly repackaged as a Penguin paperback, Conquest of the Useless, the legendary filmmaker Werner Herzog's diary of the making of Fitzcarraldo, one of his most revered and classic filmsIn 1982, the visionary directory Werner Herzog released Fitzcarraldo, a lavish film about a would-be rubber baron who pulls a 320-ton steamship over a mountain. It was hailed instantly by critics around the globe as a masterpiece and won Herzog the 1982 Outstanding Director Prize at the Cannes Film Festival, affirming Herzog’s reputation as one of the most revered and enigmatic filmmakers of his time.Conquest of the Useless is the diary Herzog kept during the making of Fitzcarraldo, compiled from June 1979 to November 1981. Emerging as if out of an Amazonian fever dream during filming, Herzog’s writings are an extraordinary documentary unto themselves. Strange and otherworldly events are recounted by the filmmaker. The crew's camp in the heart of the jungle is attacked and burned to the ground; the production of the film clashes with a border war; and, of course, Herzog unravels the impossible logistics of moving a 320-ton steamship over a hill without the use of special effects.In his preface, Herzog warns that the diary entries collected in Conquest of the Useless do not represent “reports on the actual filming” but rather “inner landscapes, born of the delirium of the jungle.” Thus begins an extraordinary glimpse into the mind of a genius during the making of one of his greatest achievements.

Hver for sig - og Gud mod alleHVER FOR SIG - OG GUD MOD ALLE Oversat af Jørgen Herman MonradDen verdenskendte og grænsesøgende filminstruktør Werner Herzogs liv har været usædvanlig begivenhedsrigt. Hans velskrevne memoirer, som udkom på tysk i 2022 i anledning af hans 80 års fødselsdag, er langt mere end en genfortælling af hans liv. Ukonventionelle og følsomme, med en allestedsnærværende livslyst giver de en unik indsigt i et væld af dramatiske og bevægende episoder – et liv, som han med sine egne ord end ikke ville have kunnet filmatisere. Selv med over 50 film i bagagen. I Danmark er han mest kendt for filmene Grizzly Man, Aguirre, Nosferatu og Fitzcar­raldo. En instruktør, som gang på gang har sat sit eget og hele filmholdets liv på spil i halsbrækkende filmoptagelser, som for eksempel under forberedelserne til Fitzcarraldo at flytte et stort skib ind over et højt bjerg langt ude i junglen.For nyligt sprang Werner Herzog ud som skønlitterær forfatter med den anmelderroste roman TUSMØRKETS VERDEN.

“A potent, vaporous fever dream; a meditation on truth, lie, illusion, and time that floats like an aromatic haze through Herzog’s vivid reconstruction of Onoda’s war.” —The New York Times Book ReviewThe national bestseller by the great filmmaker Werner Herzog. The great filmmaker Werner Herzog, in his first novel, tells the incredible story of Hiroo Onoda, a Japanese soldier who defended a small island in the Philippines for twenty-nine years after the end of World War IIIn 1997, Werner Herzog was in Tokyo to direct an opera. His hosts asked him, Whom would you like to meet? He replied instantly: Hiroo Onoda. Onoda was a former soldier famous for having quixotically defended an island in the Philippines for decades after World War II, unaware the fighting was over. Herzog and Onoda developed an instant rapport and met many times, talking and unraveling the story of Onoda’s long war.At the end of 1944 on Lubang Island, with Japanese troops about to withdraw, Onoda stayed behind under orders from his superior officer. For years, Onoda continued to fight his fictitious war—at first with other soldiers, and then, finally, alone, a character in a novel of his own making.In The Twilight World, Herzog immortalizes and imagines Onoda’s years of absurd yet epic struggle in an inimitable, hypnotic style—part documentary, part poem, and part dream—that will be instantly recognizable to fans of his films. The result is a novel completely unto itself: a glowing, dancing meditation on the purpose and meaning we give our lives.

"Werner Herzog was born in September 1942 in Munich, Germany, at a turning point in the Second World War. Soon Germany would be defeated and a new world would have to be made out the rubble and horrors of the war. Fleeing the Allied bombing raids, Herzog's mother took him and his older brother to a remote, rustic part of Bavaria where he would spend much of his childhood hungry, without running water, in deep poverty. It was there, as the new postwar order was emerging, that one of the most visionary filmmakers of the next seven decades was formed ... [This book] is ... a firsthand personal record of one of the great and self-invented lives of our time"--

Over the course of his career, legendary director Werner Herzog (b. 1942) has made almost sixty films and given more than eight hundred interviews. This collection features the best of these, focusing on all the major films, from Signs of Life and Aguirre, the Wrath of God to Grizzly Man and Cave of Forgotten Dreams. When did Herzog decide to become a filmmaker? Who are his key influences? Where does he find his peculiar themes and characters? What role does music play in his films? How does he see himself in relation to the German past and in relation to film history? And how did he ever survive the wrath of Klaus Kinski? Herzog answers these and many other questions in twenty-five interviews ranging from the 1960s to the present. Critics and fans recognized Herzog's importance as a young German filmmaker early on, but his films have attained international significance over the decades. Most of the interviews collected in this volume-some of them from Herzog's production archive and previously unpublished-appear in English for the very first time. Together, they offer an unprecedented look at Herzog's work, his career, and his public persona as it has developed and changed over time.

Previously published in English as: Tribute to Lotte Eisner.

Werner Herzog has produced, written, and directed more than seventy films, including Nosferatu the Vampyre; Aguirre, the Wrath of God; Fitzcarraldo; and Grizzly Man. He grew up in a remote mountain village in Bavaria and now lives in Los Angeles, California. His books Of Walking in Ice and Scenarios I and II are also published by Minnesota. ¿ Krishna Winston is Marcus L. Taft Professor of German Language and Literature at Wesleyan University. ¿

The second in a series: the master filmmaker’s prose scenarios for four of his notable filmsOn the first day of editing Fata Morgana, Werner Herzog recalls, his editor said: “With this kind of material we have to pretend to invent cinema.” And this, Herzog says, is what he tries to do every day. In this second volume of his scenarios, the peerless filmmaker’s genius for invention is on clear display. Written in Herzog’s signature fashion—more prose poem than screenplay, transcribing the vision unfolding before him as if in a dream—the four scenarios here (three never before translated into English) reveal an iconoclastic craftsman at the height of his powers.Along with his template for the film poem Fata Morgana (1971), this volume includes the scenarios for Herzog’s first two feature films, Signs of Life (1968) and Even Dwarfs Started Small (1970), along with the hypnotic Heart of Glass (1976). In a brief introduction, Herzog describes the circumstances surrounding each scenario, inviting readers into the mysterious process whereby one man’s vision becomes every viewer’s waking dream.

I do not follow ideas, I stumble into stories or into people; and I know that this is so big, I have to make a film. Very often, films come like uninvited guests, like burglars in the middle of the night. They are in your kitchen; something is stirring, you wake up at 3 a.m. and all of a sudden they come wildly swinging at you.When I write a screenplay, I write it as if I have the whole film in front of my eyes. Then it is very easy for me, and I can write very, very fast. It is almost like copying. But of course sometimes I push myself; I read myself into a frenzy of poetry, reading Chinese poets of the eighth and ninth century, reading old Icelandic poetry, reading some of the finest German poets like Hú6lderlin. 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, for example, a piano concerto by Beethoven, and I play it and write furiously. But none of this is an answer to the question of how you focus on a single idea for a film. And then, during shooting, you have to depart from it sometimes, while keeping it alive in its essence. —Werner Herzog, on filmmakingWerner Herzog doesn''t write traditional screenplays. He writes fever dreams brimming with madness, greed, humor, and dark isolation that can shift dramatically during production—and have materialized into extraordinary masterpieces unlike anything in film today. Harnessing his vision and transcendent reality, these four pieces of long-form prose earmark a renowned filmmaker at the dawn of his career.

"Hypnotic....It is ever tempting to try to fathom his restless spirit and his determination to challenge fate."

Et opkald fra Paris, november 1974: Lotte Eisner, den store filmhistoriker, ligger alvorligt syg i Paris. Werner Herzog bryder op fra München og begiver sig af sted, alene, med en rygsæk, et kompas og en notesbog. Han har indgået en slags pagt med sig selv: Hvis han kan gå den 800 kilometer lange tur til Paris, vil ’Eisnerinden’ overleve. Det er hundekoldt, sneen ligger i dynger, Herzog må overnatte i lader og sommerhuse, som han bryder ind i. Flere gange undervejs er han ved at give op, han plages af tørst, smertende ben, betændte akillessener, storm og regn, meningsløsheden … Men kroppen går videre. OM AT GÅ I IS er en usædvanlig og hypnotiserende lille bog om livet og døden og den viden der kommer fra kroppen. En bog om et landskab og de mennesker der bebor det, og ikke mindst om forfatterens egne indre landskaber. En film skabt med ord, en litterær klassiker.