The Twilight World: Discover the first novel from the iconic filmmaker Werner Herzog

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The Twilight World: Discover the first novel from the iconic filmmaker Werner Herzog

The Twilight World: Discover the first novel from the iconic filmmaker Werner Herzog

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So all was forgiven and Onoda became a Japanese celebrity, eventually marrying and moving to Brazil where his brother owned a farm. Onoda, 22 years old when he began his jungle sojourn, was 51 when he surrendered. He was 92 when he died in 2014. They survived on stolen food from outlying villagers. Often they would fire shots to scare everyone away, and they would go in and steal rice and other staples. They also killed farm animals and smoked the meat to preserve it, but they could only have fires during the rainy season or in dense fog because otherwise the smoke would give away their location. Wer jeden Morgen und jeden Abend sein Herz prüft und dadurch fähig wird, so zu Leben, als wäre sein Körper schon tot, den macht dieser Weg frei. Er wird sich nie etwas zuschulden kommen lassen und wird auch in seinem Gewerbe erfolgreich sein." (Übersetzung hier.) Time, time and the jungle. The jungle does not recognise time. They are like two alienated siblings who will have nothing to do with each other, who communicate, if at all, only in the form of contempt.”

Mahmud, Jamil (30 September 2009). "Werner Herzog and his film language". The Daily Star . Retrieved 19 June 2010. This way, all I have is my own imagination of Herzog's comments on Onoda's life and that's not what I came for. Schillinger, Liesl (10 June 2022). "Two Men of the Jungle Meet in Herzog's First Novel". The New York Times. ISSN 0362-4331 . Retrieved 20 June 2022.

Werner Herzog. Every Man for Himself and God Against All: A Memoir . Penguin Press, 2023. ISBN 978-0-59349-029-7. Con Herzog, y gracias a su pluma escueta e hipnótica, similar a los pasos que Onoda dio por Filipinas durante más de 26 años, viajé lejos de aquella sala de sillas verdes y baldosa blanca repleta de un incesante personal médico. Estuve lejísimos del televisor que, a esa hora, proyectaba una telenovela turca que nada me decía, que balbuceaba y no cesaba de hablarle al vacío, pues nadie le prestaba atención. The great filmmaker Werner Herzog, in his first novel, tells the incredible story of Hiroo Onoda, a Japanese soldier who defended a small island in the Philippines for twenty-nine years after the end of World War II If by setting one's heart right every morning and evening, one is able to live as though his body were already dead, he gains freedom in the Way. His whole life will be without blame, and he will succeed in his calling." HERZOG: It was so embarrassing that there was silence, silence, silence. And then somebody asked into the silence, whom else, if not the Emperor, would you like to meet in Japan? And I said, Onoda. And they asked, Onoda, Onoda? And I said, yeah, Hiro Onoda.

Chitwood, Adam. "Jude Law Joins Robert Pattinson and Naomi Watts in Werner Herzog's QUEEN OF THE DESERT". Collider . Retrieved 25 November 2012. Institute, The British Film. "BFI – Sight & Sound – Film of the Month: Invincible (2001)". Archived from the original on 3 August 2012 . Retrieved 20 August 2018. In 1997, Werner Herzog was in Tokyo to direct an opera. His hosts asked him, Whom would you like to meet? He replied instantly: Hiroo Onoda. Onoda was a former solider famous for having quixotically defended an island in the Philippines for decades after World War II, unaware the fighting was over. Herzog and Onoda developed an instant rapport and would meet many times, talking for hours and together unraveling the story of Onoda's long war.HERZOG: You have to stop a moment to venerate him or not. I do not. I describe his war, and I describe the unique situation in which he was. And as everybody on the island was an enemy combatant for him, he would fight them. And this was the reason why, after he surrendered, the Philippine president immediately granted him amnesty. He declared him an enemy combatant who performed his role as a soldier. Sure, this is dressed as a "novel", so I guess readers were supposed to immerse themselves into Onodas situation - but that was impossible, because the language is sparse and the chapters are both brief and without much emotional context. Why? Because this is written, in my opinion, as a documentary piece. The text, as it stands, should rightfully have been accompanied by documentary videos. Since it wasn't, Herzog wrote his brief scenes but only he saw the images. Moritz Holfelder. Werner Herzog. Die Biografie. Munich: LangenMüller, 2012. ISBN 978-3-7844-3303-5. Werner Herzog describes his dramatic narration in films as a "stylized voice." At home with his wife, he says, "I am a mild-mannered, fluffy husband." Ha,” says Herzog, The pedant pounces. “English is not my second language. My second language is German.”

Cronin, Paul (2014). Werner Herzog: A Guide for the Perplexed: Conversations with Paul Cronin. Faber and Faber. ISBN 978-0-571-25977-9. Sin dall'inizio, Herzong precisa che non tutto è basato interamente sui fatti: lui ha a cuore l'essenza della storia. Come scrivevo prima, Herzog procede per sottrazione, andando al cuore delle cose: “Ciò che stava a cuore all’autore, infatti, come dovette riconoscere durante il suo incontro con il protagonista, era altro: l’essenza della storia.” In 2011, Herzog competed with Ridley Scott to make a film based around the life of explorer Gertrude Bell. [43] In 2012, it was confirmed that Herzog would start production on his long-in-development project in March 2013 in Morocco with Naomi Watts to play Gertrude Bell along with Robert Pattinson to play T. E. Lawrence and Jude Law to play Henry Cadogan. [44] The film was completed in 2014 with a different cast: Nicole Kidman as Gertrude Bell, James Franco as Henry Cadogan, Damian Lewis as Charles Doughty-Wylie, and Robert Pattinson as a 22-year-old archaeologist T. E. Lawrence. Queen of the Desert had its world premiere at the 2015 Berlin International Film Festival. [45] Herzog in 2015

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Dieses Buch ist ein Gedicht, eine Oper ohne Musik, ein Film ohne Bilder. Es verkündet eine Tatsache des menschlichen Herzens und lädt uns ein, uns sie zu überlegen, ohne Kommentar oder Urteil. Nur um sie klar zu sehen. Es ist unerklärlich, genauso wie Menschen unerklärlich sind. Every Man for Himself and God Against All is a literary event unto itself, and the fact that it mirrors Werner Herzog’s life through his own eyes makes it all the more powerful. In particular the end of the book, which is a true a sensation. . .a must-read!”— Freunde der Künste UNIDENTIFIED REPORTER: Here just offshore from bloody Okinawa, the town No. 1 carrying part of the Japanese surrender delegation...

Suzuki rimane impassibile. “In Occidente, la Germania ha perso la guerra. La resa è avvenuta addirittura mesi prima di quella del Giappone.”" Cronin, Paul; Werner Herzog (2002). Herzog on Herzog. London: Faber and Faber. pp. 1–2. ISBN 978-0-571-20708-4. truffaut. Y así, dentro de esa ficción que el propio Onoda creó, en la que los periódicos y los panfletos que le lanzaban declarando el fin de la guerra eran engaños del enemigo para tenderle una trampa, Herzog elabora un relato en el que realidad y ficción no se confunden: son lo mismo. El propio Herzog está presente en la voz narrativa, pero aparece y desaparece para dar entrada y cierre a la historia, mientras que durante la narración de la experiencia de Onoda se transforma en una especie de narrador omnisciente casi testigo. Esto porque el propio ex-soldado le contó su historia. Werner Herzog: "You can learn the essentials of filmmaking in two weeks" ". Film Industry Network. 30 May 2016.

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A love-hate relationship: Herzog and Klaus Kinski during the filming of Cobra Verde in one of many memorable moments captured in a 2001 Storyville documentary Cronin, Paul (5 August 2014). Werner Herzog – A Guide for the Perplexed: Conversations with Paul Cronin. Faber & Faber. ISBN 978-0-571-25978-6 . Retrieved 30 November 2020. Harminc év! Hogy nem bolondul meg az ember harminc év alatt, ez a kérdés. Jó, hát Onodának van egy-két bajtársa, még ha azok lassacskán le is morzsolódnak mellőle. Ezen felül alapos kiképzést kapott gerillahadviselésből, ami szintúgy elengedhetetlen, ha az ember esőerdei életre van kárhoztatva. De mindez aligha lenne elegendő, ha Onoda nem sajátítaná el az önbecsapás nemes művészetét. Mert a fizikai kihívásokat még csak túl lehet élni megfelelő katonai felkészítéssel - de a mentális leépülés kezelése más módszert kíván. Például azt, hogy Onoda tudatát eltöltse a sziklaszilárd hit, hogy a háború még tart, és ennek a háborúnak ő egy fontos csavarja - a csavar pedig ne gondolkodjon, hanem teljesítse be a neki rendelt szerepet. Ne ember legyen, hanem eszköz, mert az eszköz nem kérdőjelezi meg saját funkcióját. Ezzel a technikával Onoda távol tartja magától a kétely árnyékát is. Hiába szűrődnek be buborékjába a külvilág hírei, minden, ami ellentmond hitének, lepattan róla. De a valóság kitartó fajzat. Ott van, még akkor is, ha nem akarod észrevenni. És hiába kerülgeted éveken át, egyszer úgyis eljön a pillanat, amikor orra buksz benne. Das Buch beginnt mit einem kleinen Vorspiel, das den Weg für alles Folgende bereitet. Es erzählt die Geschichte von Chushingura, Herzog nach “die japanischte aller japanischen Geschichten,” in denen 47 Krieger ihren beleidigten Herr rächen, obwohl sie wissen, dass Scheitern Tod bedeuten würde, und Erfolg dasselbe. Die Geschichte evoziert das japanische Motiv der totalen Hingabe an eine Lebensweise, das durch Selbstverleugnung veranschaulicht wird. Man kann z.B. dieses Motiv in der Zen-Maxime spüren, dass man so meditieren soll, wie um den Kopf vor Feuer zu retten. In Hagakure, Yamamoto Tsunetomes klassischen Samurai-Handbuch, liest man: Anderson, Matthew (6 February 2015). "Queen of the Desert: Berlin Film Festival review". BBC . Retrieved 30 January 2023.

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