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(Werner Herzog) I do not dream.

Very, very rarely.

I always feel it as a void,

something that was missing.

But I do have an equivalent of dreams when I'm...

...when I'm walking, for example.

Or sometimes when I'm driving very long distances,

when I'm over twenty hours in the car,

all of a sudden, the car fills with insects and butterflies

that are crowding around.

My existence has a meaning

when I'm trying to do a story

where now it is deep inside all of us.

And there are certain things that I recognize as being in us,

but they have not been articulated yet.

And that's, for me, an equivalent to dream.

I just try to remain a good soldier.

I mean a good soldier of cinema.

(♪ POPOL VUH: "Wehe Khorazin")

He has searched every corner of the world

and collected some of the most rapturous dreams

that transcended the mundane,

that contributed to our collective cosmic dream.

I feel that, for great filmmakers, for true artists,

Werner's work opens up whole approaches,

makes things possible that would not otherwise be possible.

An impossible story, an impossible task, and an impossible dream,

shot by someone who also is an impossible dreamer,

magnified and also validated all of us also having impossible dreams.

And no one else can do the style as well.

You can't really imitate this - it's impossible.

I mean, you can kind of parody it,

but it's impossible to actually see the world how he sees it.

I mean, the fact that you would come up with... (Laughs)

...moving a ship across a mountain...

Uh, what?

That's fresh. That's new.

That's badass.

That's Werner Herzog.

Excuse me, my name is Walter Hottenhoffer,

and I'm in the pharmaceutical business.

I was imprisoned in Siberia.

I spent my first winter wearing a dead man's coat.

A hole in one pocket.

I chewed these fingers off before the frostbite could turn to gangrene.

(Christian Bale) I mean, look at Werner's face, right?

He's got a good face, right?

He's got a really fascinating face,

so he can just sit there and do nothing and you're, "Oh yeah, fantastic, yeah."

I think many people do not know how to deal with me.

They are puzzled.

So, I'm, uh... something that disquiets them.

(Werner Herzog) All my films come out from pain.

That's the source.

That's where they come from. Not from pleasure.

I think there's something about him that is so hypnotic.

I've dwelled among the humans.

Their entire culture is built around their penises.

It's funny to say they are small,

it's funny to say they are big.

(Mark Kermode) 'We wanted to get a quick exterior shot

'of Herzog in his native habitat

'when things took an unexpected turn.'

In Germany, I've somehow left the paved road.

- Mm-hmm. - Nobody cares about my films.

- For example, let's... - (Air rifle going off)

What was that?

Werner called and he said, "I don't know quite how to tell you,

"but strange things have happened the last couple of days."

(Mark Kermode) 'We quickly realised

'that some whacko had taken a pot shot at us with an air rifle

'and Herzog had been hit.'

With an air rifle, right?

Some nutty fan.

He has to be very careful. (Laughs) Wow!

You what?

You were shot?

Why didn't you call the police?

And so Werner said the classic Werner line,

"It wasn't that serious of a gunshot wound."

- You're bleeding! - I think here somewhere, yeah.

Look! I mean, that's...

Somebody shot at you and created a wound in your abdomen.

It's not significant.

Werner ate the shoe?

Oh, that's right.

I mean, that sounds like it probably is true.

Is it true?

Well, he cooked it. He didn't actually eat it.

Well, I believe that he could eat his shoe.

Did he eat the whole shoe?

(Laughs)

- (Man) A few questions while he's preparing it. - (Audience laughing)

He makes himself a target for unlikely events

because he wants that, right?

He wants a fascinating life.

And that will come your way if you declare you want that.

(Werner Herzog) 'What does memory do to human beings?

'How does it shift?

'How do we form our existence through memory?

'There's no truth in memory.'

We lived in this building here, these lower windows,

and on top there was another family of refugees.

We were displaced by the war.

That was a kitchen.

It's all empty now, yeah.

This was the kitchen, but it was smaller.

- You see there, it was until the table here... - Yeah.

...and then there was a room.

There was here a room which was only that wide. Not much.

And there were two beds, Til and I,

and there was only that much space to the next wall,

and there was a third room for my mother.

So, it was...

And no heating in there.

- You see, they took the wall out. - Right.

Doesn't exist like it...

- But I don't want to go inside. - Why not?

No, it doesn't feel right.

- Then we don't. - Yeah.

My father did not live with us.

He left the family fairly soon after my birth,

and I'm glad that I didn't grow up with a father,

with a commander-in-chief, somehow.

It was anarchy in the best sense.

No rules, we set our own rules.

(Werner Herzog) We would have assigned one loaf of bread for the week,

and my mother would make, with a knife, marks or grooves for Monday, Tuesday...

And we would always be hungry,

and sometimes by Friday the bread was eaten,

and we would hang on her skirt and would cry

and ask for something to eat.

And my mother... it's terrible!

For children, it's OK, but for mothers it's terrible.

She, uh...

One day, I remember, she abruptly turned around to us

and very calm and very controlled said to us,

"if I could cut it out of my ribs, I would cut it out of my ribs, but I cannot.

"So, you will stay hungry until Monday."

(Thomas von Steinaecker) Shall we go to the waterfall?

We could have a look at the waterfall, yeah, yeah.

That's my favourite place.

- Let's go, then. - All right.

I'm not crying because of emotion.

It's my place.

It's where I belong.

You see, sometimes I believe...

...that people carry in them a landscape of their soul.

I've spoken often about it in films, also. It has become very important.

But that's where I belong.

That's my landscape.

That's me.

Yeah?

That was good.

That kid is good.

When you come over a ramp and go into an abyss,

you will shrink back from it.

You would lean in and that would somersault you backwards.

But you have to lean into it.

You have to do the unnatural.

When you are really flying far, you are not a human anymore,

you would transform yourself.

You transmute yourself into a bird.

I really, really wanted to fly.

And I would give a lot if I could fly.

It's an injustice.

It's an injustice in my life that I haven't become an athlete.

And it's an injustice of nature that we do not have wings.

Nobody took me seriously because I was way too young,

but I boldly went to production companies,

and one of them, I remember, slapped his thighs and he shouted,

"Ah, the kindergarten is trying to make movies today."

(♪ Sings in German)

(♪ PEPE NÚÑEZ ET SON ORCHESTRE: "Clavel del Aire")

It was not a school of film making - not like, let's say, neo-realism.

Thank God we didn't have a common style.

It was individual styles and individual characters.

They all lived in Munich.

(Joshua Oppenheimer) He's taken something that's real, that's a quotidian landscape,

and made is something utterly ecstatic.

And the plot cracks open there

and gives way to this moment of oceanic consciousness

where the world just expands and we're in this... dream.

For years, I wanted to meet her.

I didn't dare to meet her.

Only through Lotte Eisner I started to see films by Murnau,

and I saw "Nosferatu".

She saw signs of life.

She immediately said, "This is finally film again

"after the time of Nazis."

And so it brought us together and we were kind of instant...

not deep friendship, but she became my mentor.

She was very important for me.

Do we know from which planet you are?

(Repeats question in Spanish)

- Not really, no. - You don't know?

- But this is the planet, yes? - This is the planet, yes.

(Werner Herzog) Your sandals are spectacular.

And you're doing what here now?

So, he was just making an offering to the water god over there.

- Yeah. - Now he's going to come up here...

Now he hears a voice come, he doesn't know where it's from.

- And it's the mountain speaking to him. - OK.

So, he's about to find out who's talking to him.

- And who is the voice of the mountain? - I don't have one yet.

- Do you want to be an evil mountain? - No, no, no.

I'll cast somebody else to be an evil mountain.

I keep telling everyone, emancipate yourself from me now.

Well, I think it's good for young film makers -

they're all professionals already - to, um...

...to work with somebody who has much more experience.

It's not that I'm saying I'm better, but I have much more experience,

and I can tell them what to avoid and how to avoid mistakes.

And it's a sense of...

in a way it sounds awful,

but a sense of duty

because there's so many, so many coming at me

who want to learn from me or be my assistant.

...some iconic sort of images to suffer from bad preparation.

There's one filmmaker from your era...

- My era is still on, watch out. - (All laughing)

Be careful what you are saying.

(Shouting in Spanish)

I don't remember her story, but we will see her in a moment.

So, it's going well, yeah?

Ah, this. OK.

I admire his capacity of going behind a story

that may seem impossible, and making it possible,

like, "do the doable", like he says all the time.

I've been a huge fan of Werner's work for a long time.

I did an online masterclass that he has,

and I've got to say it really changed my life.

So, when I learned that the place where he filmed "Even Dwarfs Started Small"

was one of the locations available,

I started thinking, "OK, what can I do in this place

"that can match the framework of the workshop?"

(♪ Singing, bells ringing)

(Cackling)

(Werner Herzog) I have not been here for over 50 years.

More than half a century - since the making of the film.

1969 it was finished.

So, it was mostly here. I see the tracks.

Right here.

The smallest of the midgets laughing as if there was no tomorrow.

- (Midget cackling) - I said to him...

He wanted to know how long it would take.

I said, "As long as there is breath in you, you have to laugh, yeah?"

(Cackling)

There are images that are deeper than just a certain action or an element of a story.

It's beyond a story.

That's what you have to find in your life when you're making films.

You have to step beyond the facts, beyond what you normally see in theatres.

(Indistinct shouting, laughter)

(Loud bang)

(Shouting continues)

It's still alive. I still see the car circling, and it's just totally alive.

Hmm!

(Thomas von Steinaecker) Are these good memories or bad memories?

It's what I remember, and it's not good or bad,

it's just part of my life.

And I did good battle here, and that was that.

That's how life should be lived.

All right.

Yeah.

Huh!

(Leaves rustling)

The same sound, I remember it.

The sound of leaves.

Day, night, whenever you were here, it would be like that.

OK.

(Joshua Oppenheimer) This army descending through the clouds

on this switchbacking trail.

We've all dreamed that image.

That image is in our DNA, almost.

And to open a film that way

is to immediately...

...force us

to go on that journey with Aguirre and his men.

Lucki became the producer of the films.

He has something in him which inspires confidence.

And very often, when things got desperate,

he always somehow managed to bring us back to normal, so to speak.

(Werner Herzog) When I wrote the screenplay,

I immediately saw that it was Kinski.

He had to do it.

Of course I knew what was gonna come at me.

I knew I have to domesticate the wild beast,

not to make it a tame beast,

but domesticate it to keep a certain frame, like here the window.

You have to have a frame.

And within this frame, there's cinema.

But don't ask me how hard it was.

(Werner Herzog) I knew there was something big.

There was something that others would not be able to make.

And I knew Kinski's performance would be of a quality

that we have not seen for a long, long time in German cinema

or in general cinema worldwide.

You haven't seen anything like this, and I knew it.

(Patti Smith) Back then, it was an event.

If it was playing somewhere, you might go to Philadelphia to go see it

or travel to go see this film.

It was life.

You know, it's like you bit into, like, an exquisitely sour and sweet fruit

that you never tasted before.

(♪ POPOL VUH: "Wehe Khorazin")

(Chloé Zhao) He was making the same film,

which I do believe most filmmakers do that.

I think he had the same character.

They're in different situations,

and he was looking for the same thing.

And I think that might be his own struggle in life

you see almost in every character.

(Werner Herzog) In questions of life or death, one should walk.

You know that I walked because Lotte Eisner was critically ill,

and somehow everything protested inside of me,

and it was almost like a pilgrimage that I did.

And I knew if I came on foot, she would be out of hospital.

And I knew if I did not walk up against it, she would die.

(Werner Herzog) "Then she looked at me and smiled very delicately,

"and since she knew that I was someone on foot

"and therefore unprotected,

"she understood me.

"For one splendid, fleeting moment,

"something mellow flowed through my deadly tired body.

"I said to her, 'Open the window.

"'From these last days onward, I can fly."'

I was scouting locations in Brittany.

I come across a place, Carnac,

where they had 4,000 gigantic rocks erected,

and I said to myself,

"I'm not gonna leave here until I know how I would do it."

And I developed some sort of stone age technology.

And a friend of mine came to Munich,

and he said, "I have a great story.

"There was this robber baron, Carlos Fermin Fitzcarrald.

He moved the ship from one river system to another one

across an isthmus.

And he disassembled the ship into hundreds of parts,

and all of a sudden, I said, "I have a film,

"but it has to be a steamboat over a mountain

"pulled with stone age technology,

"and it has to have the music of Caruso."

(♪ ENRICO CARUSO: "Bella figlia dell'amore" from Giuseppe Verdi's "Rigoletto")

I even thought about somebody who looked like a peasant,

like a real gruff peasant, Warren Oates.

Never materialised.

Jack Nicholson was interested in it, he wanted to work with me.

So, it never materialised, but he was in a way a candidate.

There was one difficulty after the other.

Lack of money.

Technical problems.

We had two plane crashes.

It went completely bananas.

I shouldn't make movies anymore.

Should go to a lunatic asylum right away.

Yes.

Wilbur, that's it.

(Laughs)

Mick Jagger was a very important part.

He was a comrade and sidekick of Fitzcarraldo.

- Ho, ho! We want the Opera in Iquitos! - We want the Opera in Iquitos!

We need Opera here!

- Don't you want music in your souls? - We need the Opera in Iquitos!

Nobody had really discovered what a great actor he was

and would have been.

He has some sort of a strange, mad intensity,

and he has a fire within.

(♪ Opera playing)

And then Jason Robards became ill...

...and we flew him out, and he would never return.

His doctors wouldn't allow him.

For me, writing was always my last resort,

my last anchor on which I could hold on.

My only consolation.

So, this here, this here is great value because it anchored me.

I worry about the size of my handwriting, that's alarming.

Why is it that it becomes microscopic?

I have no explanation.

I can only decipher it with flip glasses, sometimes even larger ones,

and I need a lot of light.

Yeah, I have to read it like this, and then I have to be very close.

And almost an entire year was so terrifying

that I can't deal with it until today.

If I abandon this project, I would be a man without dreams.

And I don't want to live like that.

I... I... I live my life, or I end my life with this project.

(♪ GIUSEPPE VERDI: "Chorus Of The Hebrew Slaves" from "Nabucco")

OK.

(Werner Herzog) We couldn't move the ship by a single inch.

It was monstrous, a huge steamboat - you see it in the film.

And it was over 300 tons, I believe, and that's big.

(Indistinct shouting)

(Laughter)

I knew I could do it technically, and I could do it with the intensity of vision.

(♪ POPOL VUH: "A te o cara, amor talora" from Vincenzo Bellini's "I puritani")

What's the story behind these stones?

There's no story, they are very round, but I've found really, really totally round ones

and that's what I remember of this place.

And they are much deeper embedded in my memory than anything else here.

So, it's very strange.

You see they are very, very well rounded.

This is stone from the volcano.

It's all volcanic and the sea makes them roll up the beach

and they do it for 10,000 years and then they're round.

(Shouting)

When you kick her, you see, you kick her like this.

And then you fall back and then you have to...

Put your arm up! Put your arm up!

Ha!

(Whistle blows)

"Cobra Verde" was particularly difficult because Kinski was completely out of control,

all the way to becoming violent.

Violent, not just destroying a set or so, which he frequently would do,

but attacking people, including me, with a rock.

(Werner Herzog) There's not so much difference

between the documentaries and feature films.

I said, "I'm not going to make a documentary about Kuwait

"and the invasion of the Iraqi troops under Saddam Hussein."

And I presented some sort of a cosmic event

where there is a crime against creation itself.

It was at the Berlinale.

The audience was extremely hostile.

There was a shout of disgust.

One single roar of boos and screaming at me,

"aestheticizing the horror", and I...

And people... Some people spat at me,

and I said, "You are all wrong.

"Time is on my side."

And you should have heard the uproar against me.

And it didn't matter at all.

I stood my ground and faced what was coming.

(Lena Herzog) He lied... who he was.

He said he was a stuntman.

And I thought, "What terrible luck I have! That just figures,

"that I would fall in love with a man who is going to be constantly at risk."

We fell for each other right away.

(Werner Herzog) I just rushed back home, put my house in order,

and came back and gave away pretty much everything that I owned.

I only owned a toothbrush, which I had in my jacket, in my pocket,

and that got me in trouble at customs because I came without luggage.

Nothing. Not even an attaché case.

(Paul Holdengräber) What could he be doing there?

It seems uncanny.

It has rejuvenated his own productivity,

his own career,

and perhaps the love affair with America

also created a love affair that America now has with Werner Herzog.

America got him, and he certainly gets America.

I like to be in a place where you feel

that things are wildly, wildly in gestation and in the making.

And here people just don't talk about it, they actually do it.

- So... - What is this place?

Uh... The Museum of Jurassic Technology,

one of the very, very few places I really love here.

It's a wonderful, wonderful man who created this.

Let's go inside here.

So, this is the Iguazu Falls.

I'm on the Brazilian side.

On the other side, where the camera is, is Argentina.

And this is the Sonnabend Collection, Sonnabend Hall.

It's about this man, Geoffrey Sonnabend, an inventor and engineer

who actually built a bridge truss from Argentina to Brazil.

A rainstorm swept it away,

but in that evening, there was an opera singer, this woman here,

who had a wonderful voice.

He immediately fell in love.

To verity things, we see things that she wore that night.

And the beauty of it, it's the story's completely invented.

There is no borderline between reality and fiction anymore.

That's what I love about David Wilson.

(♪ Plays simple tune)

In the 19th century, people understood, felt, acknowledged

that we were this close to knowing everything.

Over the last 100 or 150 years, that's kind of proven not to be true,

so it's very interesting how what is considered truth evolves.

Nobody can define really what truth is.

We know it's a movement, it's an approximation into it.

We move towards some vague goal, and that alone is worth it.

(Werner Herzog) 'These penguins are all heading

'to the open water to the right.

'But one of them caught our eye, the one in the centre.

'He would neither go towards the feeding grounds at the edge of the ice,

'nor return to the colony.

'Shortly afterwards, we saw him heading straight towards the mountains

'some 70 kilometres away.

'Dr Ainley explained

'that even if you caught him and brought him back to the colony,

'he would immediately head right back for the mountains.'

That doesn't feel like he's misleading us,

that means that that's him showing us a layer of reality that's always there

that we might not see otherwise.

(Werner Herzog) 'And here he's heading off into the interior of the vast continent...

'...with 5,000 kilometres ahead of him,

'he's heading towards certain death.'

Truth is something we do not know what it is,

but we sense there's something that is beyond facts

and how can we articulate it in poetry or in film or in other media?

(Joshua Oppenheimer) My favourite example of this is "Bells From The Deep".

There's these monks who genuflect across the ice...

...in Lake Baikal or something in Siberia, this huge, frozen lake.

And while they're praying to the spirit in the lake,

he's placed - and this isn't false -

but he's placed figure skaters and had them skate among them.

And a whole world of spirit and absurdity and magic opens up.

I start to invent, I start to stylise,

but in such a way that it is not lying at you,

it gives you an almost ecstasy, a different position,

a different perspective, an illumination.

Oh, hi, Chris. Hi.

And she has kind of an aggressive attitude.

Hi.

If I turn around too much, she'll bite me.

It's OK, hi. How are you?

How are you?

That crazy documentary about the man with the bears.

Who would even consider making a documentary about this?

Don't you do that.

Back off.

(Joshua Oppenheimer) "Grizzly Man" is special

because it's built around an archive of material.

Don't do it. It's OK.

I love you. I love you, I love you. I love you.

Timothy Treadwell basically standing in front of the indifferent wilderness of Alaska

with these carnivorous, hungry, indifferent - to him, at least - bears,

and presenting them as if they were like the stuffed puppets on a children's show

like "The Muppets" or "Sesame Street".

Love you, Rowdy.

Give it to me baby.

That's what I'm talking about, that's what I'm talking about.

That's what I'm talking about.

And becoming increasingly desperate for a kind of glory and fame that is...

that this wilderness reveals right behind him, reveals to be of no consequence.

And to see him fall apart on his own camera.

Timothy Treadwell and Amie Huguenard's remains

came in this large metal can.

Inside this metal can was a plastic bag.

One for Timothy and one for Amie.

(Werner Herzog) 'This is Timothy's camera.

'During the fatal attack, there was no time to remove the lens cap.

'Jewel Palovak allowed me to listen to the audio.'

I hear rain and I hear Amie, "Get away, get away, go away."

(Sobbing)

Jewel, you must never listen to this.

I know, Werner. I'm never going to.

"Grizzly Man" for sure established a certain Werner

in the popular imagination of Americans.

I see it as a turning point.

We are honoured to have with us today Werner Herzog

who is still garnering well-deserved praise

for his 2005 documentary "Grizzly Man", which recently was released on DVD,

and whose body of work will continue to be lauded by fans for generations to come.

Werner, it's truly an honour to have you on our show.

Last year, "Grizzly Man" was released.

It did well financially, it was very well reviewed,

and there's a lot of press that came out wondering

why it was not nominated for an Academy Award.

It is as it is, and what could I ask more than having lots of enthusiastic audiences,

the film doing well, being very well accepted by critics? So, it couldn't get better.

(Man) Right here together, just to your right.

Even as the biggest Hollywood actors, they are afraid, some of them,

others may be very content,

but some of them are afraid of stagnation and convention.

And when they watch Werner's films,

they go, "Wow, this person is gonna put me through something

"that is going to strip away all of my conventions,

"and he's not afraid to put me through that."

I've been thinking about you and your little girl,

- where it all happens, yeah. - (Moaning)

Nicolas Cage became the architect of his figure, but sometimes...

It was very funny - after the third day or so, he said,

"Why is the bad lieutenant so bad?"

And I said to him, "Nicolas, you know, there's such a thing like the bliss of evil,

"so go for it," and he said, "I got it."

What are you doin'?

What...?

There's just a kind of wildness that very, very few directors can generate,

but that he also seems to attract to himself.

There's absolutely no one like Herzog at all.

The idea of being part of his cinematic world and his storytelling

and just being, as I say, in "Werner World" was incredibly appealing.

Cos I'm an actor who seeks auteurs to work with,

but I'm also happy to go anywhere if they're worth it.

He's worth it.

My kiss...

- My kiss shall liberate you. - Oh, wonderful.

Gerte, will you please not marry me?

(Chuckles)

Absolutely.

You watch all these Herzog movies

and expect this absolutely chaotic atmosphere,

and it was one of the most classical movies I've ever worked on,

and kind of very calm, like, very elegantly shot...

...and nothing particularly crazy happened at all.

Having a real ants' nest stuck on my head and hung upside down,

we were spinning so wildly that...

And then we hadn't figured out a word to say enough was enough.

So, I'm in the film going, "Stop! Stop!"

Because I feel like my eyeballs are gonna pop out my head,

and they think I'm just really into it, and they keep spinning me more and more,

and I swear, to this day I can't really go on roller coasters and stuff

the same way as I used to. I think it permanently damaged me.

I couldn't stand up for like an hour afterwards...

...until eventually they realised I was shouting, "Werner."

Sometimes I speak to people, and they kind of talk a little bit about him

like he's a man with his hair on fire all the time,

or like everything's big and at top level.

And I think there's a bit of a crossover with Kinski maybe with that, you know,

and the performances in some of his films and everything like that.

But I also do think that Werner is one of the most lovely and gentle people

that I've ever come across.

(Werner Herzog) 'Tiny and helpless,

'the baby penguins are frozen with fear.

'They know if they fall from this cliff, they will surely die.

'Gunther, give them a shove.'

Argh!

He's a genius to be able to maintain that purity in some of his work

and yet still be part of the pop culture, and that is a true weapon.

I think very few people can find that balance.

(Werner Herzog) 'Life is heartless and brutal, and the cosmos is indifferent to us all.

'I'd say goodbye, but what's the point?'

(Car horns blaring)

Werner is a form of Darth Vader.

And I say that because of power.

Werner... Darth Vader never had to yell.

His voice - if he raised his voice, it would go up an octave -

but it wouldn't be screaming.

Werner doesn't have to do that.

Nobody else that I've ever worked with,

and I've worked a lot of people in front of and behind the camera...

Nobody like Werner!

Nobody!

Look outside.

Is the world more peaceful since the revolution?

I see nothing but death and chaos.

I would like to see the baby.

Ah, it is asleep.

When I saw "The Mandalorian" on the screen in a theatre,

a large theatre in Hollywood...

...and when my name came up, there was a shout of joy.

- (Man 1) Come on Werner, we love you. - (Man 2) Come on, Werner.

And they meant me.

And it has not happened to me in my life.

In Germany, there is not so much an understanding

of the range that, you know...

Sometimes I have a feeling that they think that after "Fitzcarraldo" Werner shot nothing.

The same in America. There's an American hubris

because they think that Werner never made anything, you know, before.

But Werner doesn't really care what anybody thinks.

He just keeps going.

I made three films in a single year.

And last year, which was Covid, and you couldn't move much out,

I still made a long feature film, and I wrote two books.

And I'm also proud, of course. I want to show that I did that.

And it's only within a calendar year, so here I am.

Each individual shapes its own movie.

We live partially in a world of fantasy that we have created.

How does memory relate to that?

(Lena Herzog) Where is the source of that?

Does it shoot out from that fork? You never know.

- (Werner Herzog) I never knew. - And you didn't see where...

- No. It comes... - it comes out...

And I never... I don't want to know where it comes from.

- I agree. - It's a...

- But... - And until today...

Today it would be easy to find out where is the origin of the waterfall

and until today I do not know.

And I do not want to know.

(Patti Smith) ♪ I was a wing

♪ In heaven blue

♪ I'm on the ocean

♪ Soared in the rain

♪ And I was free

♪ I needed nobody

♪ it was beautiful

♪ it was beautiful

♪ And if there's one thing

♪ Could do for you

♪ You'd be a wing

♪ In heaven blue ♪

Lena, what else should I do?

(Lena) This was really good.

- It really was. - Should I...

- (Lena) This was good... - Should I eliminate some of my stuff?

(Both laughing)

- Ignore what... - (Lena) I think only Thomas can do that.

Ignore what I did, what I said.

Oh, yeah, yeah, I said it, and it's...

It's caught on tape, it's caught.

- (Thomas von Steinaecker) It's online already. - It's too... Yes!

(Thomas von Steinaecker) Online already! Microsoft already called here.

Yes, too late indeed.

(Lena) Too late, yes.