一.
Werner Herzog (real name Werner H. Stipetic) was born in Munich on September 5, 1942.
He grew up in a remote mountain village in Bavaria and never saw any films, television, or telephones as a child.
He started travelling on foot from the age of 14. He made his first phone call at the age of 17. During high school he worked the nightshift as a welder in a steel factory to produce his first films and made his first film in 1961 at the age of 19.
Since then he has produced, written, and directed more than forty films, published more than a dozen books of prose, and directed as many operas.
沃纳 赫尔佐格(真名沃纳 H. 斯特皮克)1942年9月5日出生在慕尼黑.
他生长在一个偏远的巴伐里亚山村里,童年从未接触过电影,电视和电话.他14岁时,开始徒步旅行.17岁时,才打了平生第一次电话.高中期间,他在炼铁厂上夜班当焊接工,目的是为了制作他的头几部电影,1961年,年仅19的赫尔佐格拍了他的第一部电影.自从那时,他已经制作,编剧,导演了超过40部电影,出版了十多本散文集,且导演了同样多数目的歌剧.
- 出自赫尔佐格正式网站上的简介 http://www.wernerherzog.com/
二.
"If I had to climb into Hell and wrestle the devil himself for one of my films,I would do it,"Werner Herzog once insisted."Every film is like a child - a stubborn child,with its own way of seeing things and doing things.And like a parent you must be willing to risk everything to protect it."
"要是我的一部电影需要我爬入地狱,与魔鬼较量,我会去做的."沃纳 赫尔佐格曾这样说过."每一部电影就像一个孩子 - 一个倔强的孩子,他会有他看东西和做事情的方法.而你就得像个家长一样愿意去压上一切保护它."
One of cinema's most visionary and controversial directors,Herzog was born Werner Stipetic in 1942,and grew up in a remote village in Bavaria."I remember my childhood in isolated images,"he recalled,"although it didn't last long.Once I saw God - maybe he was just a worker from the village - but he just stood there in the doorway one night when I was afraid and had crept under the bed,and I looked at him,and that's when I stopped being afraid."
电影最视觉化,最具前瞻性最富争议的导演之一.赫尔佐格1942年生来名叫沃纳 斯特皮克,于巴伐利亚山区中一个偏远的小村里成长."我记忆我的童年是以独立,隔绝的画面存在的,"他说到,"虽然它并不长.有一次我看见了上帝 - 他也许就是村子里的一个工人 - 但他有一天晚上就站在了楼道里,那时我已经因恐惧而钻到了床的底下,看到了他,我马上停止了恐惧."
"When I was 14,I kenw I would make films,"said Herzog."I started to submit screenplays and projects to production companies.It was a series of years of humiliations and setbacks.I knew I would never make a film unless I became my own producer."While attending high school in Munich,Herzog worked the nightshift as a steel factory welder to earn money for his first film.He formed his own production company continuing to study history and literature.
"在我14岁时,我就知道我会去拍电影,"赫尔佐格说."我那时开始向制片公司投稿剧本和计划书.经过许多年的侮辱与拖延.我明白了我要是想拍电影就必须是自己的制片人."在慕尼黑上高中期间,赫尔佐格夜里去工厂做焊接工人,为他的第一部电影筹集资金.他在学习历史和文学的同时建立了自己的制片公司.
A scholarship soon took Herzog to Pittsburgh in the United states,but he left his studies after three days.Several months later,he headed to Mexico,where he lived as a smuggler and rodeo hand.Eventually,he returned to Germany where he appropriated a 35mm camera from the Munich Film School."I knew it was not theft,"Herzog said."I had a natural right to take it.And I made my first seven or eight films with that camera."
一份奖学金把赫尔佐格带到了美国的匹兹堡,但在那里学习了三天他就离开了.几个月后,他前往墨西哥,在那里当起了走私贩和牧场手.后来,他回到了德国,从慕尼黑电影学校"获得"了一台35毫米摄像机."我知道那不是偷窃,"赫尔佐格说到"我有天生的权利去拿他.我的头七八部电影就是用的那部摄像机拍的."
Using his "borrowed" camera,Herzog directed the short films HERAKLES (1962),GAME IN THE SAND (SPIEL IM SAND,1964) and THE UNPRECEDENTED DEFENSE OF THE FORTRESS DEUTSCHKREUTZ (DIE BEISPIELLOSE VERTEIDIGUNG DER FESTUNG DUETSCHKREUZ,1966).He also won the Carl Mayer Prize for the screenplay that was to become his award-winning feature debut SIGNS OF LIFE (LEBENSZEICHEN,1968).He followed up by simultaneously directing EVEN DWARFS STARTED SMALL (AUCH ZWERGE HABEN KLEIN ANGEFANGEN) and FATA MORGANA,both released in 1971.
用他那台"借来的"摄像机,赫尔佐格拍了短片《Herakles / 赫拉克勒斯》(1962),《Game In The Sand / 沙中的游戏》(1964)和《The Unprecedented Defense Of The Fortress Deutschkreutz / 德意志要塞无防范之抵御》(1966).他的剧本还获得了Carl Mayer(卡尔 梅耶)奖,这个剧本日后便成了他的获奖处女作长片《Signs Of Life / 生命的信息》(1968).紧接着他又接连拍了《Even Dwarfs Started Small / 侏儒也是从小长大的》和《Fata Morgana / 海市蜃楼 (又名:新创世纪)》,两部均1971年发行.
A bizarre fable masquerading as a pseudo-documentary,FATA MORGANA was another "stubborn child" for its ambitious creator.While trying to reach a location in the Sahara Desert,Herzog was detained in Cameroon because his cameraman had the same name as a fugitive soldier of fortune."They wouldn't believe we were not mercenaries,"he recalled.Herzog and his camerman were thrown in jail,where they suffered starvation,as well as other physical and mental abuses.
一个离奇的寓言化装成假记录片,电影《海市蜃楼》又是雄心勃勃的导演一个"倔强的孩子".在去拍摄地撒哈拉沙漠的路上,赫尔佐格在喀麦隆被拘留了下来,因为他的摄影师与当地一名悬赏的在逃士兵名字一样[以不同断句有二解,另一解为:当地一名在逃的"悬赏猎人/雇佣军"]."他们不肯相信我们不是雇佣兵,"他回忆到.赫氏和他的摄影师被关进了监狱,那里他们挨饿,同时还受到了别的生理上的和精神上的虐待.
In the early 1970s,Herzog became recognized,along with Wim Wenders and Rainer Fassbinder,as one of the leaders of the New German Cimema,which evolved two decades after the fall of the Nazis."There was no cultural continuity,"he pointed out."Italy continued its film tradition through the war;France continued;[in Germany] there was a gap of a quarter-century.People are always linking Fassbinder with Fritz Lang and me with Murnau.I feel a great affinity with Murnau,but there is no link."
在70年代早期,赫尔佐格开始被认同为,与文德斯和法斯宾德一起的,德国新浪潮的领导者,这个浪潮发生于纳粹倒台后二十年."那时侯没有文化上的继承,"他指出."意大利在战争中继续了先前的电影传统;法国也是如此;[但在德国]有一个近二十五年的鸿沟.人们总在把法斯宾德与朗联系起来,而我与茂瑙.我极为亲近茂瑙,但我们之间并没有继承关系."
Herzog's international breakthrough came in 1972 with AGUIRRE:THE WRATH OF GOD (AGUIRRE,DER ZORN GOTTES),the story of a crazed adventurer who leads his men into the Peruvian jungle and vanishes without a trace."The jungle is all about our dreams,"Herzog revealed,"our deepest emotions,our nightmares.It's not just a location.The jungle is a form of our soul - fears and dreams,a fabulous,luxurious wealth of growth,forms and shapes.It's a state of our mind."
赫尔佐格取得国际上承认的是在1972年以影片《Aguirre:The Wrath Of God / 阿基尔,上帝之愤怒》,讲述一个发了狂的冒险家带领着他的人马进入秘鲁的热带丛林并消失的无影无踪的故事."丛林是我们所有的梦想,"他说,"我们最深的感情,我们的噩梦.那里不仅是一个地理位置一个地方.丛林是我们灵魂的体现 - 恐惧与梦想,华丽而茂盛的生机,形态与状态.他是我们思维状态的体现."
Shoot under extreme conditions in the Amazon,AGUIRRE marked Herzog's first collaboration with volatile actor Klaus Kinski.The pair would go on to make four more films together before Kinski's death in 1991."After he died,it took a while for me to comprehend that he was dead,"Herzog told The Hollywood Reporter."To this day,I still catch myself talking in the present tense about him.There was a deep friendship between us,yet at the same time we hated eah other."
在拍摄条件极端的亚马逊,《阿基尔》标志着赫尔佐格第一次与癜狂的演员克劳斯 金斯基合作.这对"搭档"还会一起合作四部直至1991年金斯基的死."在他死后,我是有一段时候无法适应无法理解的,"赫氏对<The Hollywood Reporter / 好莱坞记者>这么说."直到今天,我仍然有时无意的以现在时说起他.我们之间有很深的友谊,但同时我们又恨对方."
"My films are instinctual,"Herzog has said."I am not a theoretical person.I know that I have the ability to articulate images that sit deeply inside us,that I can make them visible."Revealingly,in one of the director's most celebrated films,THE ENIGMA OF KASPER HAUSER (JEDER FÜR SICH UND GOTT GEGEN ALLE,1974),the title character is a creature of pure instinct - an innocent young man of mysterious origin raised in total isolation who suddenly must confront society.
"我的电影是本能性的,直觉化的,"赫尔佐格说到"我不是一个讲理论的人.我知道我有一种能力去把那些隐藏于我们内心的画面显现出来."有意思的是,在他最受欢迎的影片之一,《The Enigma Of Kasper Hauser / 加斯伯 豪瑟之迷》(1974)里,主人公是一个纯靠直觉行事的生物 - 一个背景神秘,从小生长在一个完全封闭的空间里,又突然的与社会碰面的男青年.
With his 1976 feature HEART OF GLASS (HERZ AUS GLAS),the director explored his interest in cinematic experimentation
by utilizing hypnosis on his cast members - to haunting effect."Hypnotizing the actors wasn't an attempt to control them more completely,as has been suggested,"the director explained."It was a stylistic effort.I wanted this air of the floating,fluid movements,the rigidity of a culture caught in decline and superstition,the atmosphere of prophecy."
在他1976年的影片《Heart Of Glass / 玻璃心灵》中,导演探索了他对电影实验艺术的兴趣,利用催眠术,他把所有的演员催眠了,并产生了难以忘怀的效果."催眠演员并不是像人们说的一样,想更大程度上的控制演员"导演解释到."而是一个风格化的处理(艺术化的处理).我想让整个气氛充斥着浮动而流畅的动作,一个陷入衰退和迷信的僵化文,一个预言性的氛围."
"My characters have no shadows,"Herzog told Film Quarterly."They come out of the darkness and such people have no shadows,the light hurts them.They are there,and then gone,to their obscurity."His 1977 film STROSZEK features the enigmatic Bruno S.(whom the director had previously used in KASPER HAUSER) as a lonely drifter lost in the heartland of America,seeking "The American Dream" but finding only emptiness,despair and madness.
"我的人物没有影子,"赫氏这样对<Film Quarterly / 电影季刊>说,"他们来自黑暗中,而这样的人是没有影子的,光使他们疼痛.他们在那里,然后就消失了,出于他们自己的阴暗与晦涩."他1977年的影片《Stroszek / 史楚锡流浪记》由迷一般的布鲁诺 S.(之前出演过《加斯伯 豪瑟之迷》)出演一名孤独的浪者迷失在美国的心脏地区,追寻着"美国梦",却找到的是空虚,绝望和疯狂.
In 1979,Herzog directed Kinski and Isabella Adjani in the remake of Murnau's classic adaption of Dracula,NOSFERATU THE VAMPYRE (NOSFERATU:PHANTOM DER NACHT).Just 5 days after completing the film,the director commenced photography on his next project - WOYZECK (1979) - using the same crew and Kinski once again."I shot the film in just 18 days,"he told Roger Ebert,"and I edited the final cut in only four days.That's how films should be made.That was perfect."
在1979年,赫尔佐格拍了由金斯基和伊萨贝拉 阿佳尼出演的,翻拍茂瑙的经典德库拉(吸血鬼)影片,《Nosferatu / 诺斯弗拉图》.在完成影片仅仅五天后,导演就开始了他的下一个计划《Woyzeck / 沃切克》的拍摄工作."我只用了十八天来拍摄,"他和罗杰 阿尔伯特说,"而且我剪辑它只花了四天.电影就应该那样做.那样是完美的."
"Often by confronting difficulties and details you confront reality,"Herzog has said,speaking of his affinity for improvising on location."Films are not made out of the minds of screenwriters.Disasters can be positive.The momentum of disaster lets you build up a beautiful scene."The next Herzog/Kinski collaboration,FITZCARRALDO (1982),had its share of both beauty and disaster.In the course of the film's production,there were reports of chaos and injury;rumors began to spread that the film was out of control.
"通常通过面对种种困难和细节,你面对现实,"赫曾在谈他偏好实地即兴创作时说."电影不是编剧脑子中想出来的.灾难可以是有意的.灾难带来的动力可以让你塑起一幅美妙的画面."在下一个赫氏与金斯基的合作《Fitzcarraldo / 陆上行舟 (又名:费兹卡拉度)》(1982)中,经历同样多的美妙与灾难.在电影的拍摄过程中,有混乱和受伤报道出现;电影已经失去了控制的谣传开始散播.
"There were false reports,"the director clarified,"that I forced my crew to do dangerous things.I would never force anyone to take a risk they didn't choose to take."The accidents during FITZCARRALDO were unrelated to the shooting of the film."There were two indians who drowned,"Herzog explained."They did so despite my constant warnings that they not use any of the canoes;we had a number of canoes on the river,you see,and none of these Indians could swim."
"那时侯有虚假的报道,"导演澄清到,"说我逼迫我的剧组做危险的事.我从来不会去逼迫任何他们自己不想做的赌注."那些发生在《陆上行舟》拍摄过程时的事故与拍摄无关."有两个土著印第安人淹死了,"赫解释到."他们仍然那样做了尽管我不停的劝阻他们不要用那些独木舟,我们那时有一些独木舟,而这些印第安人是不会游泳的."
Herzog's singular vision has also informed his much-admired features WHERE THE GREEN ANTS DREAM (WO DIE GRÜNEN AMEISEN TRÄUMEN,1984),COBRA VERDE (1988) and SCREAM OF STONE (CERRO TORRE:SCHREI AUS STEIN,1991) - a body of work that consistently explores the mysteries of the human condition."These films might be the inner chronicle of what we are,"Herzog says,"and we have to articulate ourselves.Otherwise,we would be cows in the field."
赫尔佐格独特的视角同时还造就了很受赞誉的影片《Where The Green Ants Dream / 绿蚁安睡的地方》(1984),《Cobra Verde / 非洲黑奴》和(1988)《Scream of Stone / 石头的叫喊》(1991) - 一连串不断探索人类状况未知的作品."这些影片也许能探到我们之根本,"赫尔佐格说到,"而且我必须开始明白的整理自己.否则,我们就会像一群牧草的牛一样."
In the 1980s and '90s,Herzog broadened his creative horizons by staging several live operas,inculding DOCTOR FAUSTUS,JOAN OF ARC,LOHENGRIN and THE MAGIC FLUTE."Opera is quite another world,"he has said."The truth comes from something simple yet fundamental,that is to say the transformation of the world into music.With movies it's altogether different:you have to transform a world into images."In addition to his features and operas,Herzog has also directed a number of visusally arresting and challenging documentaries.
在80年代和90年代,赫氏拓宽了自己的创作范围,指导了许多部现场歌剧,包括《Doctor Faustus / 浮士德》,《Joan Of Arc / 圣女贞德》,《Lohengrin / 罗安格林》和《The Magic Flute / 魔笛》."歌剧真是另一个世界,"他说到."真理来自一样简单而又基本的东西,那就是把世界转化成为音乐.而电影就完全不同:你需要把一个世界转化为一幅幅画面."赫尔佐格除了他的故事片和歌剧以外,还导演了许多视觉吸引力强悍的记录片.
"You have to be cautious about calling them 'documentaries',"Herzog maintains,"because there is not a very clear borderline between documentaries and fiction films."Such works as LAND OF SILENCE AND DARKNESS (LAND DES SCHWEIGENS UND DER DUNKELHEIT,1971)and LESSONS OF DARKNESS (LEKTIONEN IN FINSTERNIS,1992) feature a distinctive mix of realism and staging."Invention,imagination,and fabrication can fathom deeper truths than cinema verité can,"Herzog believes."It may sound strange,but I discovered that to be true."
"你需要警惕把它们叫做'记录片',"赫这样说道,"因为故事片和记录片事实上是没有那么清晰的界线的."例如《Land Of Silence And Darkness / 沉默与黑暗的世界》(1971)和《Lessons of Darkness / 黑暗中的训示》(1992)中就有部分的编排成分."发明创造,想象力和捏造杜撰可以让你接触到比'真实电影'*更深的真实(真理),"赫尔佐格说."虽然听起来也许很奇怪,但我发现这是真的."
* 真实电影 : Cinema Verité 一种记录片形式,主张尽可能的客观,面对"真实世界"拍摄,自然光,等.再具体的定义我就不知道了.
"My documentaries are very dear to me,"the director admitted.Herzog's later work in this vein includes LITTLE DIETER NEEDS TO FLY (1997) and MY BEST FIEND (MEIN LIEBSTER FEIND - KLAUS KINSKI,1999),a portrait of his "nemesis" and cinematic alter ego,Klaus Kinski."It's not a nostalgic film,"Herzog said the latter."It's a paradigmatic film about an actor and a director working together.In Hollywood now you don't have a ferocious wild beast like Kinski who has to be tamed."
"我的记录片对我很重要,"导演承认到.赫氏后来的《Little Dieter Needs To Fly / 小迪特要飞翔》(1997)和《My Best Fiend / 我最好的魔鬼》(1999)同属这一脉络.其中后者是一部关于他的"恶魔"和银幕化身,克劳斯 金斯基,的记录片."这并不是一部怀旧影片,"赫说道."它是一部规范的关于一个演员与一个导演一起工作的影片.在好莱坞现在,你没有一个像金斯基这样如同凶猛的野兽一样需要被驯服的演员."
"I like all my films the way I like my children,"Herzog says."And those who have a stammer or a squint-eye or a limp,I love and protect even more.And all of my films have some sort of defect."The filmmaker is also sanguine about the nature and value of professional criticism."A good review doesn't make a film better,"he told the L.A Times,"nor does a bad review make a film worse.And believe me,I've had it all and I can take a lot."
"我爱我所有的影片如同我爱我的孩子一样,"赫说."那些结巴或者斜眼,跛脚的,我会更加爱它们和保护它们.而所有我的影片都有这样或那样的缺陷."导演还很乐观的看待专业批评的属性和价值."一篇赞扬的评论文章并不能让一部电影更好,"他跟<L.A Times / 洛杉矶时报>说."同样,一篇贬低的评论文章也不能使一个影片更差.相信我,我这些都经历过了,我什么都能承受."
Today,Herzog divides his time between Germany and a home in Northern California."Perhaps I seek certain utopian things,"he said,summing up his creative goals,"space for human honor and respect,landscapes not yet offended,planets that do not exist yet,dreamed landscapes.Very few people seek these images today,which correspond to the time we live in,pictures that can make you understand yourself,your position today,our status of civilization.I am one of the ones who try to find those images."
现如今,赫尔佐格把他的时间分割在德国和北加州的一个家两个地方."也许我寻求的是某种乌托邦式的东西,"他说,总结着自己的创造目的时,"人类尊严和地位的空间,没有被侵犯过的地貌,还没有存在过的星球,梦想中的风景.现如今,很少人追寻这些,这些符合我们生活时间的,能让我们更加理解自己,理解自己位置,理解我们文明的状态的图像(画面).我就是这样的一个追寻者."
Selected Filmography
部分影片
1999 My Best Fiend 我最好的魔鬼
1997 Little Dieter Needs To Fly 小迪特要飞翔
1995 Death For Five Voices (TV) 五种声音的死亡(电视)
1994 The Transformation Of The World Into Music (TV) 世界化做音乐(电视)
1992 Lessons of Darkness 黑暗中的训示
1991 Scream of Stone 石头的叫喊
1988 Cobra Verde 非洲黑奴
1984 Where The Green Ants Dream 绿蚁安睡的地方
1982 Fitzcarraldo 陆上行舟
1980 God's Angry Man (TV) 上帝的愤怒使者(电视)
1979 Woyzeck 沃切克
1979 Nosferatu The Vampyre 吸血鬼诺斯弗拉图
1977 Stroszeck 史楚锡流浪记
1976 Heart Of Glass 玻璃心灵
1974 The Enigma Of Kasper Hauser 加斯伯 豪瑟之迷
1973 The Great Ecstasy Of The Sculptor Steiner 雕刻家斯特纳的狂喜
1972 Aguirre: The Wrath Of God 阿基尔,上帝之愤怒
1971 Land Of Silence And Darkness 沉默与黑暗的世界
1971 Even Dwarfs Started Small 侏儒也是从小长大的
1971 Fata Morgana 海市蜃楼
1969 Die Fliegenden Ärzte Von Ostafrika 东非的飞行医生
1968 Signs Of Life 生命的信息
Written by Jay Marks & Waylon Wahl
由杰 马克思 和 威恩 华尔 写作
@ 2001 Anchor Bay Entertainment,Inc.
All Rights Reserved.
- 由《史楚锡流浪记》和《玻璃心灵》的DVD中得到的简介
三.
"Film is not the art of scholars,"insists Werner Herzog,"but of illiterates."Herzog,one of cinema's most visionary and controversial directors,was born Werner Stipetic in Munich,1942.He grew up in a remote,impoverished village in Bavaria and saw his frist film (a Tarzan movie) at 12.
"电影不是学者的艺术"沃纳 赫尔佐格坚持到,"而是文盲的."赫尔佐格,电影最视觉化的和富有争议的导演之一,原名沃纳 斯特皮克,1942年生于慕尼黑.他在巴伐里亚一个偏远的贫困山村生长,12岁时,看了他的第一部电影(一部人猿泰山影片).
[需要做说明的是在外国他这个年龄的人12岁才看到电影是一个比较希奇的事.但你要想想,中国这种人很多.也不能为奇.]
"When I was 14,I knew I would make films,"said Herzog."I started to submit screenplays and projects to production companies.It was a series of years of humiliations and setbacks.I knew I would never make a film unless I became my own producer."
"在我14岁时,我就知道我会去拍电影,"赫尔佐格说."我那时开始向制片公司投稿剧本和计划书.经过许多年的侮辱与拖延.我明白了我要是想拍电影就必须是自己的制片人."
Herzog went to high school in Munich,and worked the nightshift as a steel factory welder for 2 years to earn money towards funding his first independent film.Though he had never gone to a film school or studied film-making,Herzog formed his first production company,Werner Herzog Filmproduktion,while studying history and literature.
赫尔佐格去慕尼黑上高中期间,在炼钢厂上夜班做了两年焊接工人,为的是赚钱来拍他的第一部电影.虽然他从来没有去过电影学校学习电影,也没有专门学习过怎么样去拍电影,赫尔佐格在学习历史和文学的同时建立了自己的制片公司,Werner Herzog Filmproduktion(沃纳 赫尔佐格 电影制片公司).
Herzog's true international breakthrough came in 1972 with AGUIRRE,THE WRATH OF GOD,the story of a crazed adventurer who leads his men into the Peruvian jungle and vanishes without a trace.The brilliant film,shot under extreme conditions on the Amazon,marked Herzog's frist collaboration with volatile actor Klaus Kinski.
赫尔佐格真正取得国际上承认是在1972年以影片《Aguirre:The Wrath Of God / 阿基尔,上帝之愤怒》,讲述一个发了狂的冒险家带领着他的人马进入秘鲁的热带丛林并消失的无影无踪的故事.这部出众的影片,拍摄于条件极端的亚马逊丛林,也标志着赫尔佐格第一次与癜狂的(德国)演员克劳斯 金斯基合作.
Herzog's singular vision has also resulted in the award-winning features THE MYSTERY OF KASPER HAUSER(1974),HEART OF GLASS(1976),STROSZEK(1977) and WHERE THE GREEN ANTS DREAM(1984),a body of work that consistently explores the unexplained mysteries of the human condition."These films might be the inner chronicle of what we are,"Herzog says,"and we have to articulate ourselves.Otherwise,we would be cows in the field."
赫尔佐格独特的视角同时还造就了获奖影片《The Mystery Of Kasper Hauser / 加斯伯 豪瑟之迷(又名:人人为自己,上帝反大家)》(1974),《Heart Of Glass / 玻璃心灵》(1976),《Stroszek / 史楚锡流浪记》(1977)和《Where The Green Ants Dream / 绿蚁安睡的地方》(1984),一连串不断探索人类状况未知的作品."这些影片也许能探到我们之根本,"赫尔佐格说到,"而且我必须开始明白的整理自己.否则,我们就会像一群牧草的牛一样."
Selected Filmography:Features
部分作品:故事片
1991 Scream of Stone 石头的叫喊
1988 Cobra Verde 非洲黑奴
1984 Where The Green Ants Dream 绿蚁安睡的地方
1982 Fitzcarraldo 陆上行舟
1979 Woyzeck 沃切克
1979 Nosferatu The Vampyre 吸血鬼诺斯弗拉图
1977 Stroszek 史楚锡流浪记
Selected Filmography:Documentaries
部分作品:记录片
1999 My Best Fiend 我最好的魔鬼
1997 Little Dieter Needs To Fly 小迪特要飞翔
1995 Death For Five Voices 五种声音的死亡
1994 The Transformation Of The World Into Music 世界化做音乐
1993 Bells From The Deep 深沉的钟声
1992 Lessons of Darkness 黑暗中的训示
Selected Filmography:Documentaries
部分作品:记录片
1973 The Great Ecstasy Of The Sculptor Steiner 雕刻家斯特纳的狂喜
1971 Land Of Silence And Darkness 沉默与黑暗的世界
1969 The Flying Doctors Of East Africa 东非的飞行医生
- 由《阿基尔,上帝的愤怒》的DVD中得到的简介
四.
"Film is not the art of scholars,"insists Werner Herzog,"but of illiterates."Herzog,one of cinema's most visionary and controversial directors,was born Werner Stipetic in Munich,1942.He grew up in a remote,impoverished village in Bavaria and saw his frist film (a Tarzan movie) at 12.
"电影不是学者的艺术"沃纳 赫尔佐格坚持到,"而是文盲的."赫尔佐格,电影最视觉化的和富有争议的导演之一,原名沃纳 斯特皮克,1942年生于慕尼黑.他在巴伐里亚一个偏远的贫困山村生长,12岁时,看了他的第一部电影(一部人猿泰山影片).
"When I was 14,I kenw I would make films,"said Herzog."I started to submit screenplays and projects to production companies.It was a series of years of humiliations and setbacks.I knew I would never make a film unless I became my own producer."
"在我14岁时,我就知道我会去拍电影,"赫尔佐格说."我那时开始向制片公司投稿剧本和计划书.经过许多年的侮辱与拖延.我明白了我要是想拍电影就必须是自己的制片人."
Herzog went to high school in Munich,and worked the nightshift as a steel factory welder for 2 years to earn money towards funding his first independent film.Though he had never gone to a film school or studied film-making,Herzog formed his first production company,Werner Herzog Filmproduktion,while studying history and literature.
赫尔佐格去慕尼黑上高中期间,在炼钢厂上夜班做了两年焊接工人,为的是赚钱来拍他的第一部电影.虽然他从来没有去过电影学校学习电影,也没有专门学习过怎么样去拍电影,赫尔佐格在学习历史和文学的同时建立了自己的制片公司,Werner Herzog Filmproduktion(沃纳 赫尔佐格 电影制片公司).
A scholarship soon took him to Pittsburgh,but he left his studies after 3 days.Several months later,he headed to Mexico,where he lived as a smuggler and rodeo hand.Eventually,Herzog appropriated a 35mm camera from the Munich Film School."I knew it was not theft,"he said."I had a natural right to take it.And I made my first seven or eight films,including AGUIRRE,with that camera."
一份奖学金把赫尔佐格带到了匹兹堡,但在那里学习了三天他就离开了.几个月后,他前往墨西哥,在那里当起了走私贩和牧场手.后来,他从从慕尼黑电影学校"获得"了一台35毫米摄像机."我知道那不是偷窃,"赫尔佐格说到"我有天生的权利去拿他.我的头七八部电影,包括《阿基尔》,就都是用的那部摄像机拍的."
Using that camera,Herzog directed the short films HERAKLES (1962),GAME IN THE SAND (1964) and THE UNPRECEDENTED DEFENSE OF THE FORTRESS DEUTSCHKREUTZ (1966).He won the Carl Mayer Prize for the screenplay that was to become his award-winning debut as writer/producer/director,SIGNS OF LIFE (1968).
用那台摄像机,赫尔佐格拍了短片《Herakles / 赫拉克勒斯》(1962),《Game In The Sand / 沙中的游戏》(1964)和《The Unprecedented Defense Of The Fortress Deutschkreutz / 德意志要塞无防范之抵御》(1966).他的剧本还获得了Carl Mayer(卡尔 梅耶)奖,这个剧本日后便成了他导演/制作/编剧的获奖处女作长片《Signs Of Life / 生命的信息》(1968).
In the months following his release,Herzog found himself in a state of mind in which he wrote EVEN DWARFS STARTED SMALL (1971).Looking back,Herzog said,"That was just the fun part of my life."During the making of the film,one of the dwarfs was run over by a driverless truck which runs in circles throughout the second half of the film.Miraculously,he survived unscathed.
在他被释放后的几个月里,赫尔佐格写出了《Even Dwarfs Started Small / 侏儒也是从小长大的》(1971)*.回想起来,赫氏说,"那段是我生活中快乐的一段."在拍摄影片时,其中一个侏儒被影片后半部分不停绕圈子的无人驾驶汽车压了过去.奇迹般的是,他居然毫发无损.
*由于Anchorbay Entertainment的懒惰(或者是盗版商的作弄),赫氏电影不同的版本,不同的年代制造的DVD上会有不同的简介,这听起来是好事,但其实这些简介都是明显的从一篇长的简介取下来的残篇断章.所以会造成这里一段那里一段的感觉. 上面这段就是最明显的.
Later,as the dwarfs were setting fire to the flower pots with gasoline,one of the actors caught fire.Herzog jumped on the dwarf to extinguish the flames.The actor survived with minor injuries.
后来,当侏儒们用汽油点燃了那些花盆,其中一个侏儒不小心着火了.赫尔佐格马上扑倒了侏儒,用身体去灭火.那个演员只受了轻伤.
Due to these accidents,Herzog promised the cast that if everyone made it through the without injury,he would allow the dwarfs to film him jumping into a cactus patch.When the last footage of DWARFS was shot,the actors led Herzog to a large cactus patch behind the set.With loud cheers and a Super 8 camera rolling,they watched with great pleasure as Herzog dove into the cacti.Herzog later said,"Getting out of the cactus patch was much harder than diving in."Half a year later,he was removing cactus needles from his knees.
由于这些事故,赫尔佐格答应要是摄制组所有的人都安然无恙的把片子拍完了,他就让侏儒们用摄像机拍摄他跳入一丛仙人掌.在《侏儒也是从小长大的》最后一部分镜头拍摄完毕后,侏儒们把赫氏带到了拍摄地后面的一大丛仙人掌前.在欢呼声和一台拍摄中的超8摄像机的陪伴下,他们高兴的看到赫尔佐格飞入仙人丛中.他后来说到,"从仙人掌里出来比进去难多了."半年之后,他还在去除膝盖里的刺.
Upon it's release in 1971,EVEN DWARFS STARTED SMALL was banned in Germany.Herzog was forced to rent theaters himself to screen the film.Internationally,DWARFS was received with equal controversy,with critic Richard Roud calling it "one of the most genuinely disturbing films I have ever seen."Herzog himself refers to DWARFS as "a very dark,desperate sort of film."
当它1971年的被发行时,《侏儒也是从小长大的》被德国禁放了.赫尔佐格被迫自己租电影院放映影片.而国际上,《侏儒也是从小长大的》同样被受争议,评论家Richard Roud(理查德 罗德)说"这是我看到的最令人不安的影片之一."赫尔佐格说《侏儒也是从小长大的》是一部"很晦暗的,绝望的电影."
Feature Filmography
1991 Scream of Stone 石头的叫喊
1988 Cobra Verde 非洲黑奴
1984 Where The Green Ants Dream 绿蚁安睡的地方
1982 Fitzcarraldo 陆上行舟
1979 Woyzeck 沃切克
1979 Nosferatu,The Vampyre 吸血鬼诺斯弗拉图
1977 Stroszek 史楚锡流浪记
Feature Filmography
1976 Heart Of Glass 玻璃心灵
1974 The Mystery Of Kasper Hauser 加斯伯 豪瑟之迷 (又名:人人为自己,上帝反大家)
(aka Every Man For Himself And God Against All)
1972 Aguirre,The Wrath Of God 阿基尔,上帝之愤怒
1971 Even Dwarfs Started Small 侏儒也是从小长大的
1971 Fata Morgana 海市蜃楼
1968 Signs Of Life 生命的信息
Selected Documentary Filmography
1999 My Best Fiend 我最好的恶魔
1997 Little Dieter Needs To Fly 小迪特要飞翔
1995 Death For Five Voices 五种声音的死亡
1994 The Transformation Of The World Into Music 世界化做音乐
1993 Bells From The Deep 深沉的钟声
1992 Lessons of Darkness 黑暗中的训示
1990 Echos From A Somber Empire 来自昏暗国度的回声
1988 Herdsmen Of The Sun 放牧阳光的人们
While filming FATA MORGANA in the Cameroon,Herzog was arrested as a suspected mercenary by a group of marauding soldiers who had just attempted an abortive Coup d'Etat.Imprisoned,badly mistreated and suffering from dangerous blood parasite diseases that included malaria,Herzog barely survived the experience.
在喀麦隆拍摄《Fata Morgana / 海市蜃楼(又名:新创世纪)》时,赫尔佐格因为被怀疑是雇佣军而被一群刚政变失败的军人拘捕.被监禁,被虐待而且还得了危险的血液寄生虫疾病,包括疟疾,赫尔佐格差点在这次经历中丢失了性命.
Selected Documentary Filmography
1984 Ballad Of The Little Soldier 小士兵之歌
1980 God's Angry Man 上帝的愤怒使者
1976 La Soufrière 苏弗里耶火山
1976 How Much Wood Would A Woodchuck Chuck 土拨鼠拨木头
1973 The Great Ecstasy Of The Sculptor Steiner 雕刻家斯特纳的狂喜
1971 Land Of Silence And Darkness 沉默与黑暗的世界
1969 The Flying Doctors Of East Africa 东非的飞行医生
- 由《侏儒也是从小长大的》的DVD中得到的简介
五.
导言
"我在找寻一种自己的电影艺术的语法,找寻一种从没人看过的适合我们这个时代的影像."
赫尔佐格的电影也总是带来视觉上的说服力.令人身临其境的图像自身就可能把观众带向痛苦的边缘.让人感同身受.他首先把自己的导演风格描述为"体力活儿".他的散文风格的剧本给即兴表演留下了许多空间.
贝阿特 普瑞色.这位在三部赫尔佐格的电影中担任现场摄影的摄影师,令人信服地抓住了这样的物质尺度 - 他的摄影作品生动展现了在行动,奔跑,指挥状态下的赫尔佐格:和他作为充满激情的导演以及不知疲倦的推动者的状态.
他时刻准备着去提出"大的"问题,并给出"深刻的"答案.这为他带来了诸如"激情的""伟大的"独立电影人的名声.这一声誉是任何其他德国影人都不曾也没有获得的赞誉.
人们对他的电影的诠释和批判也反映出德国电影的状况.电影史学家罗特 艾斯娜认为赫尔佐格的电影语言相对于魏玛共和国以来的影片更形象,更独特.
沃纳 赫尔佐格小传
沃纳 赫尔佐格1942年9月5日生于慕尼黑.他的父母离异,他和两个兄弟随母亲一起在上巴伐里亚的山区里长大.1953年全家迁往慕尼黑的一个旅社.年轻的克劳斯 金斯基也曾在那里住过三个月.赫尔佐格1961年中学毕业,开始在匹兹堡学习日耳曼文学,历史和戏剧学.
1962年他独立执导了他的第一部故事短片,1963年他建立了自己的电影制片公司.他的第一部故事片<生命的讯息>(1968年)就获得了德国电影奖并在柏林电影节上收获最佳新导演银熊奖.
电影<阿基尔,上帝的愤怒>(1972年)和<人人为自己,上帝反大家>(1974年)为赫尔佐格在国际上作为独立电影人赢得了声誉.不过在德国他的作品却并非没有争议.1978年他开始和克劳斯 金斯基密切合作.<吸血鬼>和<浮石记>这两部影片在德国为他们带来了巨大的反响和关注.1982年的雄心勃勃的影片<费兹卡拉度>首先因它在秘鲁艰苦的拍摄条件而成为头版头条.在公众的感知中他树立起了一个古怪的导演形象,为了实现自己的幻想而永不退却.
到1969年,赫尔佐格拍摄了二十多部电视记录片.作为记录片导演,他关注着世界上各种不同寻常的命远.从1986年起,赫尔佐格受邀执导歌剧.他现在生活在洛杉矶.
- 由歌德学院北京分院在赫尔佐格电影回顾展发放的材料.
六.
FILM MUSS PHYSISCH SEIN
电影应身临其境
"我在寻找我自己的画面语言,富有时代感的,还从来没有人见到过的画面语言."
沃纳 赫尔佐格始终致力于发掘他的电影的有形说服力.通过他对现实生活的体验,他的画面展示出的可信感有时甚至是令人痛苦的.
贝阿特 普瑞色曾经是赫尔佐格3部电影的现场摄影师.他令人信服地捕捉了这种有形的空间.他的摄影作品展示了行动中,奔跑中以及执导中的赫尔佐格,把他作为影片的热情的策划者和不倦的推动者的作用呈现在观众面前.
本次展览共展出50幅作品,其中有37幅贝阿特 普瑞色的作品以及13幅柏林电影博物馆为庆祝赫尔佐格六十岁生日时所展出的馆藏作品.
- 由歌德学院北京分院在赫尔佐格电影回顾展发放的宣传资料.
七.
德国导演维尔纳 赫尔措格
爱丁堡电影节将于8月12日 - 26日举办德国导演维尔纳 赫尔措格的电影回顾展.而整个8月和9月,伦敦国家电影院也将上映他的影片.就像70年代其黄金时代一样,这些"夸张的电影"同样会使当今的影评家和观众的观点发生两极分化:他到底是一个疯狂的"异端"份子还是一个真正的幻想家.
纵观赫尔措格40年代的从影生涯,他的故事片和记录片所追求的意境仅有一个:融合神话和现实,展现我们这个世界"迷醉的真实".为了再现<菲茨卡拉多>中的一段史实,他不惜花费一切代价,坚持在亚马孙丛林中拖曳一艘汽船.拍摄<阿吉尔,上帝的愤怒>时,他曾威胁说,要射杀脾气同样反复无常的影星克劳斯 金斯基.赫尔措格的影片以极度的宗教狂热表现出残酷的世界观 - 面对自然界的毁灭性力量,任何进步终属徒劳无益.他的支持者们把他定位成一个"与电影拍摄体系格格不入的浪漫幻想家".
1942年,赫尔措格出生在慕尼黑,父亲是克罗地亚人,母亲是德国人,父母为他取名维尔纳 斯蒂普蒂克.他的青少年时代是在巴伐里亚的山村农场里度过的.后来在匹兹堡,他依靠一项"富尔布赖特"奖学金学习电视和戏剧课程,之后又前往墨西哥.据说他在墨西哥靠走私电视机和当骑师谋生.从某种程度上说,给自己取名"赫尔措格"是为了"抵御充盈这个宇宙的邪恶".
赫尔措格酷爱运动,声称自己曾步行穿过德国整个边境,还从慕尼黑走到巴黎,拜访病中的老师,德国电影史学家洛特 艾斯纳."胡说",艾斯纳告诉影评家德里克 马尔科姆,"我看见他从火车下来的."在莱 布兰克20分钟的短片<维尔纳 赫尔措格吃皮鞋>中,因和影人埃罗尔 莫里斯打赌赌输了,主人公赫尔措格竟嚼起了皮鞋上的皮革,以此作为对自己的惩罚.许多关于赫尔措格生活的报道缺乏有力的证据,矛盾重重.但有一点可以肯定,他的生活和电影组成了一个不可分割的整体.
早在1967年,赫尔措格便和赖纳 法斯宾德,维姆 文德斯一道并称为"新德国电影"的旗手,他把这种开拓性精神充分融入自己1972年的影片<阿吉尔,上帝的愤怒>中.剧组被放逐到病菌肆虐的秘鲁丛林深处进行拍摄工作,与世隔绝长达五个月之久.
1974年,赫尔措格取材于一个真实的故事 - 1828年在海德尔堡发现了一个完全脱离社会的男人(或许他还有王室血统),创作出影片<卡斯帕尔 豪泽之迷>,表现德国资产者虚伪的生活.他还雇佣一名有精神病史的清洁工充任主人公.
赫尔措格对于自然景色的尊崇丝毫不亚于一位画家,这在影片<斯特罗斯泽克>和<菲茨卡拉多>中得到充分体现.与此同时,他继续着着力表现那些受到神秘力量的驱动,努力实现梦想的人们,尽管这些梦想的实现会遭遇不可战胜的困难,最终无法美梦成真.
1988年和克劳斯 金斯基最后一次合作,拍摄影片<科布拉 维尔德>时,这位德国导演发现,说服投资者助其实现梦想的工作变得愈来愈艰难.在后<现代启示录>时代里,他所擅长表现的神秘景象在好莱坞已遍地开花,这种风格的电影拍摄手法呈泛滥之势.
整个90年代,赫尔措格在拍摄电视记录片.即使这种为小银幕而生的艺术样式也未能束缚住导演想象的野马.1997年的影片<小迪特尔需要飞翔>中那名越战美军战俘所受的痛苦折磨,以及1992年的影片<黑暗中的教训>里展现的战后科威特大片大片溅满石油的土地都表明,导演夸张现实的创作态势依旧处于勃发状态.
维尔纳 赫尔措格,这位最激烈而又最放纵的导演以电影为手段,激荡自己的感情冲动.
(译自2001年8月9日<泰晤士报>)
(张颖)
-出自<世界电影动态> 2001.9
p.4 中国电影家协会 外国电影研究部编
2001.9.25出版 总第262期
八.
沃纳 赫尔措格 Werner Herzog
沃纳 赫尔措格,1942年9月5日生于德国巴伐利亚,并在那里度过他神秘的童年.他12岁时与母亲迁居慕尼黑,15岁写出第一个剧本.他青少年时期酷爱旅行,遍游英国、希腊、墨西哥等地,18岁时到过苏丹旅行,丰富的旅游经验为他的电影带来独特的景观色彩.
赫尔措格的电影具有强烈的个人风格,而且都在很少的预算下完成,由他自己兼任制片和编剧.他很早就在慕尼黑铁厂打工挣钱,并用偷来的35mm摄影机拍摄自己的第一部短片.1963年,他成立自己的制片公司,拍摄了《荷拉克勒斯》、《沙上游戏》等三部短片.据说1966年还在太空总署赞助下拍摄电视作品.
赫尔措格第一部剧情长片《生命的讯息》(1967),描写纳粹在被占领的希腊的暴行,但影片并不仅限于对历史的如实描绘,而留下更多的篇幅将这种暴行寓言化、普遍化.这种对人类历史政治的终极思考,使影片呈现出一种非凡的品质,因而获得1968年柏林电影节最佳新导演奖.
1972年,赫尔措格执导著名作品《阿基尔,上帝的愤怒》(又名《天谴》、《三侠屠龙》),影片再一次将历史事件寓言化,16世纪欧洲殖民者侵略美洲的冒险在片中成了一个激情而孤独的狂想者的疯狂行为.历史背景被从影片中剥离出来,而人类的本性才是导演最为关注的主题范围.影片被英国《画面与音响》杂志评为年度十大佳片之首,他也成为国际影坛最受瞩目的德国青年导演.
赫尔措格1974年的名作《加斯 荷伯之谜》(《人人为自己，上帝反众人》),在戛纳电影节上获得国际影评人联合会特别奖.影片通过19世纪一个欧洲广为人知的弃儿的故事,展现出人性、宽容等现实和历史问题.
赫尔措格1977年的《玻璃精灵》又是一个近似寓言的历史故事,讲述了一个狂热的玻璃工厂厂主的故事.同年的《史楚锡流浪记》反映了德国流亡者在美国的命运及普通人在惟利是图的社会里难以找到自己的社会位置的悲剧.
1978年,赫尔措格重拍了德国电影表现主义默片杰作、穆瑙的《吸血鬼》,1981年又拍摄了一个狂想家在南美"陆上行舟"的疯狂故事《费兹卡拉度》.1984年在澳大利亚拍摄了《绿蚁安睡的地方》,描绘了澳洲原住民与国外资本矿业公司的斗争,公司要破坏的不仅是他们的家园,更是"绿蚁安睡的大地".
此后有《哭泣的石头》等等名作.他的作品大多以狂热、孤独的狂想者为主人公,强调人力与天意的对抗,很多作品有寓言性质.
赫尔措格是新德国电影运动中几位最著名的导演之一,与法斯宾德、文德斯、施隆多夫等人齐名.
- 出自新青年DVD手册 精华版第二辑 新世界出版社
p.180
九.
三 我看见了自己 <橡皮头>
不过,借助中心的便利,你还看过别的"电影人"的作品吗?你经常提到费里尼,而他不但着迷于表现物质上的陌生感,而且他还热爱他自己的主题场景.
就像罗马?是的.我热爱费里尼.而且我们还是在同一天出生的,所以假如你相信占星术......当然他处在一个完全不同的时空里,而且他对生活采取的是一种意大利式的态度.不过他的电影里有一种东西.有一种感觉.它们会使你做梦.它们是如此神奇如此抒情又如此有创意.这个家伙是独一无二的.如果把他的电影拿走,就会出现一大块空白.他是任谁都无法代替的.我也喜欢伯格曼,但他的电影就绝对是另一回事了.感觉干枯.没有梦.
我认为赫尔措格是所有时代最伟大的导演.真的伟大.我在英国的时候曾在电视上看过<斯特罗佐克流浪记>.我错过了开头部分,所以我当时还以为是,就像是,一部真实的记录片.不到两秒钟我就被它完全俘获了.我此前从没有看过类似的东西.
[我猜他说的是the greatest director of all time.]
后来我在纽约遇到了他,他给我看他去年写的一本日记:<徒步环行德国>.他每天都有记录,而我的反应就是他一定有世界上最尖的铅笔!因为文字水晶般的清晰,但又那么小,你得用放大镜才能看得清楚.那本日记很小 - 两英寸见方吧 - 而每一页都满满地塞进去了400到500个句子.真令人难以置信!
[1英寸=2.54厘米]
他有时会非常疯狂的.他曾在拍片现场威胁要开枪打死谁!
那不是疯狂!说真的,克里斯!
都是欧洲导演.当时你对欧洲电影更感兴趣么?
是的,这跟我的目标有关.大家去电影院的原因是各不相同的:不管什么原因,反正是去了,而且会有一些片子使你沉下来至令你的心灵战栗.大概其中大部分都是欧洲片.
这是否跟它们不像美国片那样执著于叙事有关?
是的.一点没错.我就是这么想的.
- 出自《我心狂野 - 大卫 林奇访谈录》p.87
三联书店出版 克里斯 罗德雷(Chris Rodley) 编 冯涛 译 
九架飞机从远处降落就是赫尔佐格1971年影片《Fata Morgana / 海市蜃楼 (又名:新创世纪)》的开头.
它是一个突兀而强势的开头.
特此,选择九篇简介似的文章来作为这个系列的开头.
希望这些也许能给喜欢赫尔佐格电影的人多一些资料.
但更希望这些能让更多不知道赫氏的人能对他有兴趣.
所以,最重要的还是看他的电影去.
