Werner Herzog

I don't see it that much as extremes. You see, when you move a ship over a mountain, it is doable. And I knew it was doable, although quite hard. But I think it is such a big metaphor like extremes. In literature, you have it, for example, the white whale, Moby Dick, in the hunt for it, or Don Quixote attacking the windmills with his lance.

I don't see it that much as extremes. You see, when you move a ship over a mountain, it is doable. And I knew it was doable, although quite hard. But I think it is such a big metaphor like extremes. In literature, you have it, for example, the white whale, Moby Dick, in the hunt for it, or Don Quixote attacking the windmills with his lance.

I don't see it that much as extremes. You see, when you move a ship over a mountain, it is doable. And I knew it was doable, although quite hard. But I think it is such a big metaphor like extremes. In literature, you have it, for example, the white whale, Moby Dick, in the hunt for it, or Don Quixote attacking the windmills with his lance.

So there are big metaphors, a big vision out there, and then it doesn't matter if it's becoming difficult or not. And, of course, I disagree a little bit about what you said about risking things. Yes, I have risked personally things. I test things. the problems and the obstacles and the dangers. But in 80 or so films, not a single actor was ever injured, not one.

So there are big metaphors, a big vision out there, and then it doesn't matter if it's becoming difficult or not. And, of course, I disagree a little bit about what you said about risking things. Yes, I have risked personally things. I test things. the problems and the obstacles and the dangers. But in 80 or so films, not a single actor was ever injured, not one.

So there are big metaphors, a big vision out there, and then it doesn't matter if it's becoming difficult or not. And, of course, I disagree a little bit about what you said about risking things. Yes, I have risked personally things. I test things. the problems and the obstacles and the dangers. But in 80 or so films, not a single actor was ever injured, not one.

So it's my proof that I must be circumspect, that I must be careful. Of course, sometimes crew members were hurt, but they would volunteer, even push me. For example, let's go through the rapids with a ship. And it's a big one. I mean, 320 tons. And if it crashes into the rocks, it has a momentum and a kinetic energy that's enormous.

So it's my proof that I must be circumspect, that I must be careful. Of course, sometimes crew members were hurt, but they would volunteer, even push me. For example, let's go through the rapids with a ship. And it's a big one. I mean, 320 tons. And if it crashes into the rocks, it has a momentum and a kinetic energy that's enormous.

So it's my proof that I must be circumspect, that I must be careful. Of course, sometimes crew members were hurt, but they would volunteer, even push me. For example, let's go through the rapids with a ship. And it's a big one. I mean, 320 tons. And if it crashes into the rocks, it has a momentum and a kinetic energy that's enormous.

And of course, almost everyone who was on board for filming and they pushed me, let's go on board and let's film this. Almost everyone was injured, but that does happen and it's a risk that we knew and we accepted it.

And of course, almost everyone who was on board for filming and they pushed me, let's go on board and let's film this. Almost everyone was injured, but that does happen and it's a risk that we knew and we accepted it.

And of course, almost everyone who was on board for filming and they pushed me, let's go on board and let's film this. Almost everyone was injured, but that does happen and it's a risk that we knew and we accepted it.

I hear you, yes. But I'm not searching for finding my boundaries or something. The extreme mountain climbers do that. That's not my thing. I know my boundaries and I accept them and I take no as an answer, for example. And I'm a professional person. I'm a filmmaker. And I want to come back with a film and I want to come back alive alive.

I hear you, yes. But I'm not searching for finding my boundaries or something. The extreme mountain climbers do that. That's not my thing. I know my boundaries and I accept them and I take no as an answer, for example. And I'm a professional person. I'm a filmmaker. And I want to come back with a film and I want to come back alive alive.

I hear you, yes. But I'm not searching for finding my boundaries or something. The extreme mountain climbers do that. That's not my thing. I know my boundaries and I accept them and I take no as an answer, for example. And I'm a professional person. I'm a filmmaker. And I want to come back with a film and I want to come back alive alive.

because I want to edit the film and I want to show it to audiences. So, for example, at the edge of a volcano, yes, there were certain dangers and there was an eruption and glowing slabs or blobs of lava came down on us, raining down, and some of them very large. I mean, the size of... the size of a car, the size even of a truck. So you better flee quickly. You get out of it.

because I want to edit the film and I want to show it to audiences. So, for example, at the edge of a volcano, yes, there were certain dangers and there was an eruption and glowing slabs or blobs of lava came down on us, raining down, and some of them very large. I mean, the size of... the size of a car, the size even of a truck. So you better flee quickly. You get out of it.

because I want to edit the film and I want to show it to audiences. So, for example, at the edge of a volcano, yes, there were certain dangers and there was an eruption and glowing slabs or blobs of lava came down on us, raining down, and some of them very large. I mean, the size of... the size of a car, the size even of a truck. So you better flee quickly. You get out of it.

But I'm not searching the dangers. The nature of my storytelling sometimes requires to go into extreme situations, yes. But I think to look deep into our human nature, to look deep into the darkest recesses of our soul or the hidden things deep in our soul, you have to put human beings at some sort of an edge.

But I'm not searching the dangers. The nature of my storytelling sometimes requires to go into extreme situations, yes. But I think to look deep into our human nature, to look deep into the darkest recesses of our soul or the hidden things deep in our soul, you have to put human beings at some sort of an edge.