Werner Herzog Book order (chronological)

Paměti Wernera Herzoga líčí v 36 krátkých pasážích scény a obrazy z neuvěřitelně bohatého autorova života, doplněné jeho krátkými úvahami. Zachycují život v rozpětí jednoho století, který by se nevešel ani do jednoho z jeho slavných filmů. Mladý, věčně hladový Herzog, s nímž matka uprchla z rozbombardovaného Mnichova do chudičké vsi v Alpách, vyroste v mladíka toulajícího se osaměle světem, na něhož záhy číhá v nejzazších končinách Egypta v horečkách smrt. Je to nadšenec a ctižádostí poháněný individualista, který uprostřed džungle tiše rozmlouvá s rozběsněným Klausem Kinským a rozpláče se u smrtelného lože přítele Bruce Chatwina. Ať už mluví o situacích během natáčení, jež občas ohrožují i životy ostatních, nebo o svém vztahu s Kinským, vždy jsou ve hře riziko a silné emoce. Tato kniha plná nespoutané touhy po životě a údivu nad naším nádherným světem je skutečnou literární událostí.

The screenplay presents an epic dramatization of Hernán Cortes' conquest of the Aztec empire in 1521, showcasing Werner Herzog's unique storytelling style. Although it has remained unfilmed for over thirty years, readers can now explore this ambitious narrative that delves into themes of power, culture, and the clash of civilizations. Herzog's vision offers a captivating glimpse into a pivotal moment in history, bringing to life the complexities of conquest and its lasting impact.

Ein Zwischenruf im Zeitalter der politischen Manipulation – auf der Suche nach der Wahrheit mit einem „phänomenalen Erzähler“ Washington Post Der große Erzähler Werner Herzog fragt nach der seltsamsten aller Erzählungen: der von der Wahrheit. Was ist wahr? In einer Welt, die durch Fake News, politische Manipulation und künstliche Intelligenz verunsichert ist, die auf kalte Fakten setzt und doch die Poesie und den Film erfunden hat, muss Wahrheit mehr als bloß stumpfe Empirie bedeuten. Von einem erfundenen Schlachtensieg des Pharao Ramses bis zum modernen Mythos der Entführung durch Außerirdische, von ekstatischen Momenten am Filmset bis zu seinen Begegnungen mit der Wirklichkeit durch tagelanges Gehen reiht Werner Herzog auf einmalige Weise faszinierende Überlegungen und Erinnerungen aneinander. Ein Buch für alle, die sich wundern können.

The long-awaited memoir by the legendary filmmaker and celebrated author. Told in Werner Herzog's inimitable voice, this is the story of his epic artistic career, as inventive and daring as anything he has done before. Hauling a steamship over a mountain in the jungle; walking from Munich to Paris in the dead of winter; descending into an active volcano; living in the wilderness among grizzly bears - Werner Herzog has always been intrigued by extremes of human experience. Here, he illuminates the influences and ideas that have driven his creativity and shaped his unique worldview. Herzog's life matches the drama of his famous films: the boy growing up in poverty in a small village in the Alps after the Second World War; the teenager travelling the world in search of adventure that almost cost him his life; the director trying to calm his leading actor Klaus Kinski in the Amazonian jungle. And along the way, Herzog tells of ordinary people with extraordinary stories: rural labourers, circus acrobats, child soldiers. Every Man for Himself and God Against All is at once a personal record of one of the great self-invented lives of our time, and a masterpiece that will enthral fans old and new. In a hypnotic swirl of memory, Herzog untangles and relives his most important experiences and inspirations, telling his story for the first and only time.

Werner Herzog, a revered filmmaker, shares the extraordinary story of Hiroo Onoda, a Japanese soldier who defended a small Philippine island for twenty-nine years after World War II ended. In 1997, while in Tokyo to direct an opera, Herzog expressed a desire to meet Onoda, known for his quixotic defense of the island unaware that the war was over. Their hours-long conversation unraveled Onoda's remarkable journey. At the end of 1944, with Japanese troops withdrawing from Lubang Island, Lieutenant Onoda received orders to hold the island until the Imperial army's return, using guerilla tactics and never taking his own life. He retreated into the jungle, embarking on a campaign that turned weeks into months, months into years, and ultimately decades. Onoda adhered to his orders, surviving first with fellow soldiers and then alone, becoming one with the jungle. Time seemed to dissolve as he continued his mission. In this work, Herzog immortalizes Onoda's absurd yet epic struggle, blending documentary, poetry, and dreamlike narrative. The result is akin to a modern-day Robinson Crusoe, reflecting on the purpose and meaning we assign to our lives.

'One of the best things published about cinema.' Sight & Sound Herzog was once hailed by Francois Truffaut as the most important director alive. Famous for his frequent collaborations with mercurial actor Klaus Kinski - including the epics Aguirre, the Wrath of God and Fitzcarraldo, and the terrifying Nosferatu - and more recently with documentaries such as Grizzly Man, Cave of Forgotten Dreams and Into the Abyss, Herzog has built a body of work that is one of the most vital in post-war German cinema. Here, he reflects on his legendary and inspiring career.

Interviews with the director of Signs of Life; Aguirre, the Wrath of God to Grizzly Man; and Cave of Forgotten Dreams

More than a quarter-century before September 11, 2001, the World Trade Center was immortalized by an act of unprecedented daring and beauty. In August 1974, a young Frenchman named Philippe Petit boldly—and illegally—fixed a rope between the tops of the still-young Twin Towers, a quarter mile off the ground. At daybreak, thousands of spectators gathered to watch in awe and adulation as he traversed the rope a full eight times in the course of an hour. In Man on Wire, Petit recounts the six years he spent preparing for this achievement. It is a fitting tribute to those lost-but-not-forgotten symbols of human aspiration—the Twin Towers.

Questo testo raccoglie il lungo diario tenuto da Werner Herzog durante i due anni e mezzo di lavorazione del suo film "Fitzcarraldo" nella giungla amazzonica, tra il giugno 1979 e il novembre 1981. Protagonisti di queste pagine sono, come nel film, la lussureggiante foresta pluviale e le sue popolazioni di indios che a centinaia lavorarono come comparse nella pellicola, oltre a Klaus Kinski, l'attore preferito di Herzog. Nel descrivere la quotidianità di un'impresa che non ha nulla di quotidiano, Herzog arriva a ripensarsi radicalmente come artista e come uomo, riflettendo sul ruolo dell'arte, sul concetto di civilizzazione, sul senso della violenza e sull'ineluttabile crudeltà della natura.