Chapter 25 of 26 from Werner Herzog

Life as a Filmmaker

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The life of a filmmaker is fraught with doubt, rejection, and constant battles for survival. Learn how to survive in an impossible industry.

Topics include: Thinking long term • Keeping your curiosity awake • Experiencing the essential moments

The life of a filmmaker is fraught with doubt, rejection, and constant battles for survival. Learn how to survive in an impossible industry.

Topics include: Thinking long term • Keeping your curiosity awake • Experiencing the essential moments

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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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.

Reviews

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

The class has felt like a reminder more than anything else, to stay open and curious and not try too hard to fit in or follow rigid paths, but to listen, believe and dare to dream.

From what is established to a broader mindset, Herzog isn't telling you what to do but rather inspiring a real personal creative process.

Thank you Werner for all of your helpful lesson! They've really opened my eyes to what film is all about and what it can achieve, I will definitely be going into future projects with these elements in mind of what I am trying to say and capture with my storytelling! This has been a very informative and inspirational Masterclass!

Only on my 4th class and this is fantastic, So enjoy listening to him. Such a depth...

Comments

Michael O.

'Birth of a Nation.' SERIOUSLY? One of the most virulent racist films of all time. Griffith, the Shakespeare of Cinema? SERIOUSLY?! Why was the first aid kit with the snake poison antidote 20 minutes away, knowing full well the location was infested with snakes, at least one species of which was the most poisonous in the world? "You have to live in the moment." Except of course when it comes to those with skin color that does not match your own.

Saba

You have to know that you are the one that can move a ship over the mountain. I love that.

Jonathan S.

I've taken nearly a dozen of these courses, and all the instructors are clear that it takes obsession (and luck) to succeed in any of their endeavors. But none makes the case as powerfully as Werner. I disagree with him on more points than any other instructor, but when he says there is dignity in being a rancher, he's telling you how hard film making will be. Ron Howard said that every movie will break your heart in some way. Listen carefully. Are you really sure you want to do this? If you are, don't worry, you can always give it up. Ask Orson Wells. Ask David Wark Griffith.

Ray U.

You have to be able to say, ‘this is not for me’ about projects. Keep your esoteric interests: Mycenean Linear B script as a proto Greek dialect. Distribution of Primes – the Reimann Hypothesis. The very essential things in life – experience them firsthand. Venomous snakes in the jungle. Life possesses numerous unforeseeable things. That ship halfway up the mountain. You have to know you are the one who can move a ship over a mountain.

Vivian

Oh my gosh, Werner you really have gone through a lot of adversities in your film making life -- moving a ship over a mountain, someone had to cut off his leg, and so on. I agree that we film makers are the DREAMERS who dare to do something different and significant to evoke some kind of human awakening or emotional response. That's the ultimate goal.

Rashad

Calling bullshit on the snake and the guy that cut off his own leg but I love how you slipped in a previous lesson into this one. Love your work professor!

Kimberly C.

this guy........... Id follow him around doing the most menial of tasks just to listen....and learn.......... inspiring

Tino T.

Hello Friends, i have some experience in directing, writing etc... although now i work on tv, which is ok, but not really bringing up your creativity as good as it should, at least they pay well. But i can tell you all, the REAL mistake and error as a filmmaker you can have, is doubting yourself, and oh God.. i had this a loooot and still have it ... but what is worse: When i started (2007) i had more courage, to make movies, shortmovies, nonsense movies, and it was not so bad at all, and today, with the know how, the material ( i have 2 red one cameras), and with real people, i became too artificial, to theory-nerd.. and this is the death for creativity... I like Werner von Herzog, i was born in germany, and lived there for 20 years so there is another connection to him,and since 1995 i live in my country, Spain, which is a Film nation persé.... And this masterclass is really good, one of my favourite. But i really miss the old TIno Trivino, that naive filmmaker i was, before all this ... know how.. because i dared to make nonsense movies, and i also finished them all... :p today.. i am always looking for an excuse to tell my self i dont have time to make real longplay movies... Thanks for this lesson..... a real beautiful lesson! Danke schön :) From Toledo, Spain Tino Trivino :)

Michelle Lynn I.

I will carry this lesson with me, even if within my life span, I never create a movie.

Gippsland G.

As Martin Scorsese says filming, the arts is a vocation a calling. Werner would agree. Only that kind of sense of commitment will suffice. And the dreams are ultimate: without them the project perishes. I'm gobsmacked by the lengths to which Werner would go to have his key metaphor. Not just any old one either: a true Wunderkind. Nikolai Blaskow

Transcript

If you really want to make a film, you should not say I want to be a filmmaker. Be specific. I want to make this very project. So if you just want to have it for it's chic and it's cool to be a filmmaker, no, it's not cool. It's series of humiliation. It's a series of banalities every single day on a shoot. Many filmmakers are out there to gain inner growth. I just can't hear it. It's so stupid, so embarrassing. Or they want to test their boundaries. People quite often believe, yeah, I'm out there in the jungle and moving a ship over a mountain to test my boundaries. No, not so. It's stupid to think so. I want to move a ship over a mountain because it's a huge metaphor. It's a metaphor for something dormant inside of us. And there's images that I wake up-- I can wake them up, as if it were the dreams that others share. It's as if I had a dormant brother inside of me with whom I get acquainted. All of a sudden, there's a twin brother out there. And I haven't met him until I made this film. So there's something much bigger than your own quest for perfection, or your own quest for inner growth, and all these new age, crazed things that I just can't hear. I'm a disciplined worker. I'm a storyteller. I'm a filmmaker, and that's that. [MUSIC PLAYING] Long term survival. It's a profession where you're normally lost, I would say, 12, 15 years. And some of the strongest of the strong have not survived longer. David Wark Griffith, the greatest of all filmmakers of the early era. The Shakespeare of cinema. He had the most fantastic successes with Birth of a Nation, and some other films, and some failures, and he was out. And spent the rest of his days as a land surveyor. Or let me name Orson Welles. Strong like an animal. Powerful in his imagination, in his craft, in his acting, and everything. And he spends budgets, the entire budget, already halfway through pre-production traveling lavishly, spending money, and the studio would stop him in his tracks. And they would stop the project. So it hits the strongest of the strong. And the survival of, I would say, those people was fairly short lived. And of course, long term survival. How do you establish loyalties, loyalties of crews? I do not just hire a cinematographer for that project, and sound person, and costumes. Of course, quite often, it's a motley mix of people who have never seen each other before. And they disperse, and they never see each other. But I try to build up cinematographers, editors, composers, and some of the key people, and enter with them a long term relationship. When I am working with a production company, I'm not someone who wants to do just one film. If I like the company, I would say let's try, and let's develop a long term relationship. Let's try and continue. Think beyond what we are doing right now...