In 1999, before a public dialogue with critic Roger Ebert at the Walker Art Center, Herzog read a new manifesto, which he dubbed Minnesota Declaration: Truth and Fact in Documentary Cinema. [55] Subtitled "Lessons of Darkness", after his film of that name, the 12-point declaration began: "Cinema Verité is devoid of verité. It reaches a merely superficial truth, the truth of accountants." Herzog explained that "There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization" and that "facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable." [56] Ebert later wrote of its significance: "For the first time, it fully explained his theory of 'ecstatic truth. '" [57] In 2017, Herzog wrote a six-point addendum to the manifesto, [58] prompted by a question about "truth in an age of alt-facts". [59] Kohn, Eric (11 September 2018). "Werner Herzog Says He's Acting in 'a Big Franchise Film' and Shot a Secret Movie in Japan — Exclusive". IndieWire . Retrieved 30 August 2019. Zalewski, Daniel (17 April 2006). "The Ecstatic Truth: Werner Herzog's Quest". The New Yorker. New York City . Retrieved 5 May 2020. What is Truth in an Age of Alternative Facts". Walker Art Center. 19 June 2017 . Retrieved 8 August 2017.

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. 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. Cronin, Paul; Werner Herzog (2002). Herzog on Herzog. London: Faber and Faber. pp. 1–2. ISBN 978-0-571-20708-4. truffaut.Most details are factually correct; some are not. What was important to the author was something other than accuracy, some essence he thought he glimpsed when he encountered the protagonist of this story. Herzog, Werner; Cronin, Paul (2002). Herzog on Herzog. New York: Faber and Faber. ISBN 978-0-571-20708-4. Herzog is a voracious reader, and lists the following works as required reading for the Rogue Film School: J. A. Baker's The Peregrine, Virgil's Georgics and Ernest Hemingway's " The Short Happy Life of Francis Macomber". Suggested reading includes the Poetic Edda translated by Lee M. Hollander, Bernal Diaz de Castillo's The Conquest of New Spain and the Warren Commission Report. [76] Filmmaker Herzog is up against himself in Venice | Film". Reuters. 5 September 2009 . Retrieved 25 October 2009. E alla fine non si fa altro che provare tenerezza nei confronti di questo ufficiale che per trent'anni è rimasto fedele alla sua causa. Niente poteva dimostrare che fosse sveglio o che vegliasse durante tutti quegli anni.

The author of this book, Werner Herzog (b. 1942), is a German film maker. This may be his first novel. All his other books seem to be autobiographical stories related to his filmmaking. The author befriended Onoda on a trip to Japan and interviewed him about his time in the jungle, although again, he states that this book is a fictionalized story based in reality. SHAPIRO: In the book, you write that - you say, I had worked under difficult conditions in the jungle myself and could ask him questions that no one else had asked him. Like what? What were those questions? Roxborough, Scott (18 May 2019). "Werner Herzog Talks Cannes Entry, 'The Mandalorian' Role". The Hollywood Reporter. Archived from the original on 15 December 2019 . Retrieved 27 January 2020.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. Does Werner Herzog Have a College Degree? Answer". www.wishmachinery.com . Retrieved 8 November 2017. SHAPIRO: ...Onoda's private war went on. For 29 years, he waged a guerrilla campaign from the jungle, first with a few other soldiers and ultimately on his own. He stole food from local villagers. He killed civilians and fought gun battles with police officers he believed were enemy agents. And he resisted all attempts to convince him of the truth - leaflets dropped from planes, copies of current newspapers, even a personal appeal from his own brother. Onoda was sure they were all fabricated enemy propaganda. Filmmaker Herzogdraws on the true story of a Japanese officer who patrolled the Filipino jungle for nearly three decades after WWII, unaware the war had ended, in his fascinating debut novel . . .Onoda shares with the director’s filmic protagonists a fierce will and singular perspective. This will whet the reader’s appetite for a film version.” —Publishers Weekly

Herzog was honored at the 49th San Francisco International Film Festival, receiving the 2006 Film Society Directing Award. [25] Four of his films have been shown at the San Francisco International Film Festival: Wodaabe – Herdsmen of the Sun in 1990, Bells from the Deep in 1993, Lessons of Darkness in 1993, and The Wild Blue Yonder in 2006. a b c d "Jonathan Demme interviews Werner Herzog (Museum of the Moving Image, 2008)". YouTube. Archived from the original on 11 December 2021 . Retrieved 29 November 2008. 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 soldier 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 met many times, talking and unraveling the story of Onoda’s long war. SHAPIRO: A private audience with the emperor is an enormous honor, and Herzog knew instantly that he'd committed a massive faux pas. Werner Herzog moved to Los Angeles with his wife in the late nineties. "Wherever you look is an immense depth, a tumult that resonates with me. New York is more concerned with finance than anything else. It doesn't create culture, only consumes it; most of what you find in New York comes from elsewhere. Things actually get done in Los Angeles. Look beyond the glitz and glamour of Hollywood and a wild excitement of intense dreams opens up; it has more horizons than any other place. There is a great deal of industry in the city and a real working class; I also appreciate the vibrant presence of the Mexicans." [24] Later career: 2006 onwards [ edit ]Smail, Gretchen (12 November 2019). "Werner Herzog's 'The Mandalorian' Character Is The Next Great 'Star Wars' Villain". Bustle. Archived from the original on 27 January 2020 . Retrieved 27 January 2020. HERZOG: I would say yes. And, of course, since it was a fictitious war, I'm asking myself, how much of a fiction do I live myself in my life? And, of course, we all do. We are performative. We are bound by cultural norms. 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. Cronin, Paul; Werner Herzog (2002). Herzog on Herzog. London: Faber and Faber. pp.vii–viii. ISBN 978-0-571-20708-4. truffaut. SHAPIRO: You told The New Yorker that you had this story in you for 20 years, not quite as long as Onoda spent fighting his imaginary war but a long time. Why do you think you held off writing it until now?