Chapter 23 of 26 from Werner Herzog

Documentary: Truth in Nonfiction


Ditch the 'fly-on-the-wall' approach to documentary filmmaking. Shape the 'ecstatic truth' to tell a beautiful and brilliant story.

Topics include: Shaping the escatic truth • Scripting moments • Illuminating your audience

Ditch the 'fly-on-the-wall' approach to documentary filmmaking. Shape the 'ecstatic truth' to tell a beautiful and brilliant story.

Topics include: Shaping the escatic truth • Scripting moments • Illuminating your audience

Werner Herzog

Werner Herzog Teaches Filmmaking

In 6 hours of video lessons, Werner Herzog teaches his uncompromising approach to documentary and feature filmmaking.

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Capture the spectacular

When the legendary director Werner Herzog was 19, he stole a camera and made his first movie. 70 films and 50 awards later, Werner is teaching documentary and feature filmmaking. You’ll learn storytelling, cinematography, locations, self-financing, documentary interview techniques, and how to bring your ideas to life. By the end, you’ll make uncompromising films.

Watch, listen, and learn as Werner covers every aspect of filmmaking, from pre-production to distribution.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Werner will also critique select student work.


Students give MasterClass an average rating of 4.7 out of 5 stars.

Entertaining. Satisfying. Oh, you want to learn anything? Well, it's only you who can teach yourself.

Excellent class told from a very unique point of view.

Werner words overhauled my storyteller soul. Best Rehab clinic for anybody losing time looking for the perfect project instead of start telling it

“Do you not then hear this horrible scream all around you that people usually call silence.”


Michael O.

An ecstasy of truth through lies and manipulated images and getting talent drunk? When I was a kid, neighbor lady across the street would comment, "I know dog s**t when I see it." The only loser in this class is the teacher.


I love the courage of making up a quote and attributing it to someone else. So funny the drop of water as well.

Janos V.

This was the best, and certainly the most entertaining chapter thus far. :) "Facts are boring, lifeless things that no one gives a **** about. They require a story to breathe life into them." -Aristotle. Not really. But he certainly could have said so. And the fact that he didn't say it, doesn't make the observation any less true.

Rhonda M.

When you discover the truth of something, it’s often far more fascinating than anything you could make up.

Rhonda M.

I understand the need for poetic license in feature films — but it was disappointing to learn that Werner Herzog made up quotes in his documentaries.

Jonathan S.

I have the feeling that if I were in one of his movies or "documentaries," I would be risking my life for his vision. I'll pass. I suppose that makes me a loser in his eyes. I'm okay with that.

Jennifer F.

wow. I'm glad I just skimmed this, but all the staging, scripting and false quotes in the documentary...caused me to stop watching.

Nuvanta F.

My favorite lesson ever from my favorite artist and inspiration! Go Herzog! Away with losers! Check out what we’ve created since his lessons: #dramaqueers & Mira, yo hago esto / as a filmmaker #adrianPastrana

Richard J.

I really don't like putting words in my subjects mouth or staging a moment when I'm doing a documentary. I thought the idea was to get to the truth. I see my camera as an observer and I'm not allowed to intrude on the facts. Heck whether you like it or not, the filmmaker is already being subjective, I'm subjective where I am my camera, I'm subjective when I hit the record button and I'm diffidently subjective when I decide what to edit. So with all that intrusion into the facts, in the end I'm already manufacturing my version of the truth. So why muddy the waters any more?

logan P.

The facts? Ha! Just cannon fodder for the ones who write history. Is it the winners or losers who really write it, or a set of agreed upon lies? "Wheres the facts?" Love it!


For me, it's all just movies. And my documentaries are partly staged, or inventive, or poetical, and not so much fact-based, although the hard core of facts I always incorporate. So I think this distinction is a little bit too mechanical and too brainless. Many of my documentaries, in fact, are feature films in disguise. [MUSIC PLAYING] You shouldn't be too pedantic. I keep [? quoting, ?] for example, the Pieta-- the statue of Michelangelo in St. Peter's Church Cathedral. It's one of the most beautiful sculptures that was ever made. And when you look at the dead Jesus in the arms of Saint Mary, Jesus is 33 years old-- is a 33-years-old man. And when you look at the Virgin, at his mother, she is depicted as a 17-year-old virgin. So where are the facts? He just takes a liberty to shape it and form it himself. And Shakespeare, by the way, said once in one of his dramas, the most truthful poetry is the most feigning. So, if you read [? Terdelene-- ?] a great German poet, early 1800s, he actually became insane at the end of his life-- he writes about a storm in the mountains. And of course, it is not a weather report of 1802. It's a great poem. And what happens very often, what I hear very often is said, filmmakers believe that facts-- in particular, documentary filmmakers-- that facts constitute truth. They don't. They do not per se. Facts have enormous power. They have the power to create norms. If, let's say, a million or five million asylum seekers are streaming into Western Europe, it will create new norms of behavior. So that's a power of facts. But this doesn't, the fact per se doesn't illuminate you. It doesn't give you what I call an ecstasy-- something ecstatic, something that illuminates you. Otherwise it keeps quoting that quite often the phone directory of Manhattan would be the book of books. 4 million, 5 million entries, all factually correct. But it doesn't illuminate us. It doesn't tell us anything about every single person that's listed there. So I've always tried to postulate something that is much deeper-- and you can find it in cinema-- some moments where you depart from, let's say, historical facts, and you start to invent on your own. I have done it quite often, and I've gotten a lot of flak for that. But I maintain that this is something really important for filmmaking, and it should develop. We should divorce documentaries from journalism-- from mere investigative journalism. We are not flies on the wall. That's what you hear quite often, you should be like a fly off the wall. No, that's only the losers who do that. It's a camera that you find in the bank, and it watches the bank for 15 years, and not a single bank robber will ever show up. So those are the losers. You have to step out. You have to create. And only by imagining, and by creating, and by fantasizing, and brin...