Chapter 8 of 26 from Werner Herzog

Leading The Platoon


When Christian Bale had to eat real maggots in Rescue Dawn, Werner offered to eat them first. Here, he explains the power of leading by example to inspire your cast and crew.

Topics include: Inspiring your crew • Becoming the guinea pig • Finding your anchors of safety

When Christian Bale had to eat real maggots in Rescue Dawn, Werner offered to eat them first. Here, he explains the power of leading by example to inspire your cast and crew.

Topics include: Inspiring your crew • Becoming the guinea pig • Finding your anchors of safety

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.

Great masterclass for a beginner or someone who is on profession for a long time! inspiring and mind-blowing!

Mostly that the dedication—no, obsession—required may be beyond my ability. But I can still enjoy what I do.

This class was fantastic! Werner has such depth of experience and determination. You can feel that you are in the presence of a true master.

Thank you a lot! I just heard from absolutely different perspective



"They don't need to love me, they have to love what they are doing." Going first in the mine field is courageous but it makes me wonder if it was needed that bad. Werner is an inspiration for sure and his passion for film making is palpable.

Eric G.

Good lesson: Conflicts of creativity...a filmmaking analogy at times. Well done.


Of course it's usually better to ask for permission but sometimes it's necessary to beg for forgiveness. The reason I've always admired Herzog is because he is one crazy mother...precisely the kind of personality that is necessary to create film/TV. If you don't see some part of yourself in his courses I think you might do better with a whisk.

Rhonda M.

Werner’s stories were liberating for me. I’ve dealt with bizarre temper tantrums on projects and always felt like it was my fault. Maybe there’s just something edgy about people drawn to this line of work — though Werner must have a lot of faith in himself to discern the pattern of a mine field.... not sure I’d want to be the photographer behind him.


I loved this lesson, I am aware know that there´s too much to conquer within my self to believe or be truth to my own work. And it sets a lot of very important tools of how I must work with my team.

Diana F.

I love the kind of leader he inspires you to be, the originality of his vision. "I rather have the camera behind me than in front of me". Thank you so much for this lesson

Lois B.

Anchor of Safety. You are that today for me. Will listen to the lessons again but wanted to say Thank You.


You are a G! He said if you leave I will have to kill We've come too far to turn back Love it.

Jenell B.

Your wisdom goes beyond measures. I really took a lot of notes of this genius class.


You are really a Director who pushes the boundaries and limits for the BEST motion pictures.


My doubts always come on the very first hour of shooting. I am scared. Oh my goodness. There is the whole crew. There are the cameras. And I try to look behind and around. And I really the one to do this film? What qualifies me? So I have a ritual to overcome it. The assistant cameramen has to glue a yellow stripe of gaffer tape here on my chest and one longer on my back between the shoulder blades. And they-- I have the feeling, oh yeah, it's me now, and you better step out, and you do it. And it's a simple ritual. And after 10 minutes into working myself into a film, every sort of question-- am I the one who is going to do it-- has dissipated. I think a few things are necessary. They are, number 1, your project has to have a real big, clear vision that keeps people going with you. You have to have something like authority, but it has to be natural authority. Or rather, you have to earn the authority every single day on the shoot. You have to be competent. You have to be loyal with your people. You have to be quick in your decisions. You should know what sound can do. You should know what a camera does. You should know what you can do with costumes, and many other skills. And only because of that, you have an automatic authority. It's not by yelling around. You have to-- authority has to be something natural. It comes partly because of your understanding of the single parts that are going on in the shooting, during the shooting of a film. And of course, authority comes because of the intensity of your vision. On the set, for example, I listened to suggestions of the cinematographer. I listened to what the actor is remarking. And it's interesting how far I would give them space for creating their own architecture of things. And I give them a very short instruction, and then I can leave them alone and know they have it all in them, and do not direct every single detail. And what really keeps this diverse group of people together, which always holds them together on a set, is at the end of the day-- during shooting already, you know, man, this was great. Was this a performance? And we captured it. And this was incredible. And everybody walks away, and it was a tough day. Torrential rains-- we are soaked. We are hungry. And everybody walks back, somehow glowing in this knowledge that we have done something exceptional that others have not been capable of doing. But it means a day-to-day grinding on of filming, which is completely unspectacular. It's a grinding on of banalities. It's an endless chain of banalities that you are doing, time-consuming things that do not seem to ever come to anything. You have to enforce something that is so wonderful that everybody loves what they are doing. They don't need to love me. They have to love what they're doing. I was more formal. ...