By Ray Pride Pride@moviecitynews.com

Werner Herzog Is Always A Professional

“Saving the world is a very suspicious concept. I’m as responsible as it gets in my situation. I drive my car less than 10% of what I used to drive 20 years ago. I’m not into consumerism. But when it comes to the end of the human race, there are certain suspects. Microbes can come and wipe us out. It can happen fast. Avian virus or mad cow disease, you name it. Microbes are really after us. Or a cataclysmic volcanic eruption which would darken the skies for 10 years – that’s gonna be real trouble. Or a meteorite hitting us, or something man-made. I don’t believe we’ll see a nuclear holocaust but there are quite a few scenarios out there. Anarchy and cannibalism? Yes but there would be survivors. Maybe 10% would survive, enough to replenish the species. I’m talking about total extinction. We are not sustainable. Martin Luther was asked, what would you do if tomorrow the world would come to an end, and he said, ‘I would plant an apple tree today.’ This is a real good answer. I would start shooting a movie.”
~ Werner Herzog Is Always A Professional

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“I don’t know, because I don’t know much about those cameras. I know that’s been a complaint, but I wouldn’t know. Film is what worked for this film. I have a fear of the unknown. I’ve spent a long time trying to learn one camera, and to fucking stop and try to learn another one… I would have to stop for 20 years! I’m a slow learner; I’d have to go through the manual, it would be starting over. So there’s that, too. It’s an issue for filmmakers, and it’s on people’s minds, and I have to say that it’s a lot more challenging and difficult just to kind of get somebody to show film or to print film. It’s far more challenging than it should be right now, and we’re just trying to keep it alive a little bit and create a little pocket where it can be shown that way in various places across the country right now.”
~ Paul Thomas Anderson To David Ehrlich On The Prospect Of Switching From Film

“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award