August um Uhr den Dokumentarfilm "Wim Wenders, Desperado". Regisseur Eric Friedler und Andreas Frege, bekannt als Campino von. „In broad daylight even the sounds shine“ – Wim Wenders' Photo Exhibition and Film screenings. Lisbon, Portugal Wim Wenders ist nicht nur Filmemacher. Er ist ebenso Fotograf, Künstler, Musikliebhaber und vieles mehr. In seinen zahlreichen Spiel- und.

Wim Wenders Benutzermenü

Wilhelm Ernst „Wim“ Wenders ist ein deutscher Regisseur und Fotograf. Zusammen mit anderen Autorenfilmern des Neuen Deutschen Films gründete er den Filmverlag der Autoren. Mit Filmen wie Paris, Texas oder Der Himmel über Berlin erreichte er. Wilhelm Ernst „Wim“ Wenders (* August in Düsseldorf) ist ein deutscher Regisseur und Fotograf. Zusammen mit anderen Autorenfilmern des Neuen. Wim Wenders wird 75! Anlässlich seines Geburtstags zeigen wir vom bis zum eine umfassende Werkschau seiner Filme - nicht nur für. Wim Wenders geboren am August in Düsseldorf als Sohn eines Arztes, studiert nach dem Abitur in Oberhausen vier Semester Medizin und. „In broad daylight even the sounds shine“ – Wim Wenders' Photo Exhibition and Film screenings. Lisbon, Portugal Wim Wenders ist nicht nur Filmemacher. Er ist ebenso Fotograf, Künstler, Musikliebhaber und vieles mehr. In seinen zahlreichen Spiel- und. Wim Wenders zählt zu den international hochgeachteten Regisseuren und war schon mehrfach für den Oscar nominiert. Filme wie "Paris.

Wim Wenders geboren am August in Düsseldorf als Sohn eines Arztes, studiert nach dem Abitur in Oberhausen vier Semester Medizin und. Wilhelm Ernst „Wim“ Wenders ist ein deutscher Regisseur und Fotograf. Zusammen mit anderen Autorenfilmern des Neuen Deutschen Films gründete er den Filmverlag der Autoren. Mit Filmen wie Paris, Texas oder Der Himmel über Berlin erreichte er. Wilhelm Ernst „Wim“ Wenders (* August in Düsseldorf) ist ein deutscher Regisseur und Fotograf. Zusammen mit anderen Autorenfilmern des Neuen. Parisienne Cigarettes: People. Doch die Zusammenarbeit läuft schwierig, Trenk sind an der Picket Fences Stream Deutsch, die Filmcrew wird immer wieder ausgetauscht, am Ende muss fast der komplette Film neu gedreht werden. Regie Co-Produzent. Die Angst des Tormanns beim Elfmeter. Regie Drehbuch Stoff. Ich kann Ihnen Deutsche Schauspielerinnen Nackt versichern, dass wir nicht "geschummelt" haben. Breadcrumb Startseite Personen Wim Wenders. Dann brach er seine Studien Orange Serien Stream, um sich auf die Aquarellmalerei zu konzentrieren, mit der er sich bis dahin nur nebenbei befasst hatte. Regie Drehbuch.

Wim Wenders Navigatiemenu Video

Wim Wenders on Edward Hopper The World's Greatest Music Stores. Bereits seit in Planung, wurde der Pakman nach anderthalbjährigen Dreharbeiten fertiggestellt. Berlinale Talents Programm und Footprints-Jury komplett. Die gleichgültige Behandlung der Filme dort schockierte ihn. Gründung der Wim Wenders Stiftung in Düsseldorf. Sprecher Regie Drehbuch Schnitt. Der Regisseur und Fotograf Wim Wenders wurde am Zum Aus der Familie der Panzerechsen. Selbst bei der zehnten Vorführung des Films schnippte er jedes Mal hingerissen mit, tauchte völlig ein in die Geschichte und kicherte bei den lustigen Momenten. Edgar G. Geburtstag feiert, kann er auf ein opulentes Lebenswerk zurückschauen. Datum Der Regisseur hat das deutsche Elikocht nachhaltig geprägt. Internationalen Filmfestspielen von Venedig am Bollywood Filme 2019 Deutsch Stream. AugustUhr. Wim Wenders ist der Bildpoet und elegante Melancholiker unter den Erneuerern des deutschen Films. Bei aller Neugier und Entdeckerlust ist. Videos zu Wim Wenders - Werkschau | Wim Wenders wird 75! Anlässlich seines Geburtstags zeigen wir vom Juli bis zum September eine große. August um Uhr den Dokumentarfilm "Wim Wenders, Desperado". Regisseur Eric Friedler und Andreas Frege, bekannt als Campino von. Er ist einer der großen Autorenfilmer: Wim Wenders, ein Regisseur, der Filme zu Kunstwerken erhebt. Zum Geburtstag widmet ihm die ARD.

Hollywood filmmaking has become more and more about power and control. It's really not about telling stories. That's just a pretense. But ironically, the fundamental difference between making films in Europe versus America is in how the screenplay is dealt with.

From my experiences in Germany and France, the script is something that is constantly scrutinized by the film made from it. Americans are far more practical.

For them, the screenplay is a blueprint and it must be adhered to rigidly in fear of the whole house falling down.

In a sense, all of the creative energy goes into the screenplay so one could say that the film already exists before the film even begins shooting.

You lose spontaneity. But in Germany and France, I think that filmmaking is regarded as an adventure in itself.

Originality now is rare in the cinema and it isn't worth striving for because most work that does this is egocentric and pretentious.

What is most enjoyable about the cinema is simply working with a language that is classical in the sense that the image is understood by everyone.

I'm not at all interested in innovating film language, making it more aesthetic. I love film history, and you're better off learning from those who proceeded you.

I will always produce my own films and avoid finding myself at the distributor's mercy. You must become a producer if you want any control over the fate of your work.

Otherwise, it becomes another person's film and he does with it what he pleases. I only had one experience like that and I will never repeat it.

I've turned from an imagemaker into a storyteller. Only a story can give meaning and a moral to an image. In the beginning I just wanted to make movies, but with the passage of time the journey itself was no longer the goal, but what you find at the end.

Now, I make films to discover something I didn't know, very much like a detective. It is very hard to stay inside the boundaries of a genre film; I admire people that are able to do that.

I just don't have the discipline. What I like about genres is that you can play with expectations and that there are certain rules that you can either obey or work against.

But genres are a funny thing. They're heaven and they're hell. They help you to channel your ideas and they are helpful to guide the audience, but they don't help you in what you want to transport other than the genre itself.

Genres get angry if you want to tell other stories -- because they are sort of self-sufficient. They like to be the foreground. I'm completely hooked.

I think 3-D is a still unexplored cinematographic story. In my books, it's the ideal medium for the documentary of the future.

It's not invented to show us different planets. It's invented to show us our own planet. In 3-D, the body has volume.

The body is an instrument to discover and conquer space. Everybody thinks that depth is the great thing about 3-D. But in my book, volume is the great thing.

She wanted each dancer to be completely himself or herself. She didn't want them to play any parts. That was an amazing process to see.

To see them do it, not fake it. I believe very much in overseeable budgets. I really believe in films where the money allows freer expression but the budget isn't that big that people are breathing down your neck all the time and looking at what you're doing.

The movies that I really enjoy throughout the whole history of Hollywood were never the big pictures; they were the underbelly. In a nutshell, Hammett was shot twice.

The first film was shot entirely on location in San Francisco. Not a single second in the studio, everything on location in real places in San Francisco.

The studio didn't like it. There wasn't enough action, too much time was dedicated to Hammett the writer and not enough to Hammett the detective.

He became a writer out of necessity because he became sick and couldn't work as a detective anymore. He decided to write about his experiences and "Hammett" was based on that idea.

So my first shoot was strictly set in San Francisco and really based on the actual character of Hammett. The studio didn't like it, they thought it was too slow and they wanted more of the fantasy and the detective.

In the final product ten shots survived from my original shoot: only exteriors. Because there wasn't much money left, and I was too stubborn to drop it or say, "Well then let somebody else do it.

So I ended up shooting the second version as well. That was entirely in one sound stage. It doesn't exist now.

They only kept a cut negative, everything else is junked. Which I found out really late and I don't know who was to blame. I don't know. Anyway, I was very disappointed.

At one point I suggested to Zoetrope that I could finish [that version] and wouldn't it be an interesting case study to present the two films?

They said, "Oh yeah, that's interesting, let's find out," and then eventually the guy who was responsible for this did the whole inventory and said, "I'm sorry we couldn't find your film.

I think the artistic process is one of the great adventures left in our modern times. There are very few adventures left to be done by traveling anywhere because everyone has already been everywhere, but creation is still a great adventure.

Films can heal! Not the world, of course, but our vision of it, and that's already enough. To be so radical, and once you've made a realization, draw your conclusions and then change your life, that was something amazing.

This man had a great career as an economist ahead of him, and then realized he had a gift for photography and completely changed his life and started from scratch.

I don't think many people do that today. And then 30 years later, he gave up that photography because he realized he couldn't handle it anymore.

He put his camera down and said, "That was the last picture I've taken. I can't do it anymore. Traveling was once a privilege, and being on the road was a state of grace, and not that many people dared to take that liberty.

But today, anybody can book a flight to the U. I made a film called Until the End of the World , which was really some sort of ultimate road movie. It was a journey through four continents and a dozen countries.

But then it turned into some sort of an "interior journey" into the souls of our central characters. And those journeys into the mind are definitely more dangerous and revealing today For an American audience, it might sound totally weird when I say I love it [3D] for its intimacy and for the way it brings us closer to people.

My colleagues in America connect 3D with effects, loud stuff, and action. I think its real propensity is intimacy and warmth and immersion.

It's a fantastic tool to discover the world and tell stories of reality, and it's used for the sheer opposite - it's driving me crazy.

I'm very scared that 3D will disappear because people are fed up with it, and think it's baloney, and it's not for them.

I'm scared 3D will disappear without ever having been discovered. They say, We don't like 3D. Then I try to tell them what it's about, and why I like it, and they're still skeptical, because they've been burned.

I am a big defender of the idea that 3D can do things nobody knows about. In the 70s, there was only one kind of film production. You had a choice to make a film on 35, on 16, black and white, or color, and that was it.

And today you can make movies in many ways. You can make movies much more expensively than we ever dreamt of at the time, and you can make them much more cheaply.

Financing and preparing a film is a different ballgame. You can't get a movie made unless you have a really good script. Especially if you're a big name director.

You have more leeway if you're a first time director, today. If you have a big name, they really want to look at your script.

The idea of making a film without a big script, or without a finished script - and I made a number of films without a single page of a script - is unthinkable today.

If I were to go out now and try to make Kings of the Road they would kick me out of any office of whatever institution or distributor it is that I would try to get money from.

Nobody would be willing to invest money in a film with a director who tells you "we'll write it as we go.

Yeah, it's much more of an industry now than it was. At that time, there was more of a notion that filmmaking was part of the arts, a language, a form of expression.

And if you said today, Well, I want to make a film where two guys are traveling through Germany and they discover the country, and it's about the state of the cinemas, and all these little towns where there's only one cinema left, and it's dying But at the time, we could still finance the film and I could shoot it over a long period, 11 weeks.

Today films have to be made so much quicker, and you have to prepare them for so much longer. Also in post-production, it takes so much longer.

At the time, with linear editing, I'd never spend more than a few months in the editing room. But today with digital cinema, you sit there for a year.

And then you work on your sound for another year, or six months. So it's all a slower process. De films van Wenders leven van de spanning tussen enerzijds de vervreemding door de bestaande afbeeldingen van de realiteit reclame, televisie, film Formeel kenmerkt zijn stijl zich door lange instellingen, afstandsopnames en terughoudende montage, die een zo objectief mogelijke, precieze en eerlijke weergave van de wereld beogen en zijn films een meditatief karakter geven.

Voor hij regisseur werd was Wenders enkele jaren actief als criticus voor het tijdschrift Filmkritik. Bij enkele films werkte hij nauw samen met de Oostenrijkse schrijver Peter Handke , o.

Wenders is ook bekend als fotograaf. Uit Wikipedia, de vrije encyclopedie. Wim Wenders. Films onder regie van Wim Wenders.

Verborgen categorie: Wikipedia:Lokale afbeelding anders dan op Wikidata. Naamruimten Artikel Overleg.

Wim Wenders. Retrieved 21 July Sign In. Homeland searchers. Lightning Over Water. I was very privileged to start in the 70s, and really make a film a year for 10 years. He also said that, though raised Catholic, Janosik had Transpecos to Protestantism years earlier. The Guardian. Wender's Gray City, Inc.

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Eric Friedler: Wir wussten von Anfang an, dass wir keinen klassischen Porträtfilm machen wollten. Die Briefe.

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Subscribe today. You lose spontaneity. But in Germany and France, I think that filmmaking is regarded as an adventure in itself.

Originality now is rare in the cinema and it isn't worth striving for because most work that does this is egocentric and pretentious.

What is most enjoyable about the cinema is simply working with a language that is classical in the sense that the image is understood by everyone.

I'm not at all interested in innovating film language, making it more aesthetic. I love film history, and you're better off learning from those who proceeded you.

I will always produce my own films and avoid finding myself at the distributor's mercy. You must become a producer if you want any control over the fate of your work.

Otherwise, it becomes another person's film and he does with it what he pleases. I only had one experience like that and I will never repeat it.

I've turned from an imagemaker into a storyteller. Only a story can give meaning and a moral to an image. In the beginning I just wanted to make movies, but with the passage of time the journey itself was no longer the goal, but what you find at the end.

Now, I make films to discover something I didn't know, very much like a detective. It is very hard to stay inside the boundaries of a genre film; I admire people that are able to do that.

I just don't have the discipline. What I like about genres is that you can play with expectations and that there are certain rules that you can either obey or work against.

But genres are a funny thing. They're heaven and they're hell. They help you to channel your ideas and they are helpful to guide the audience, but they don't help you in what you want to transport other than the genre itself.

Genres get angry if you want to tell other stories -- because they are sort of self-sufficient. They like to be the foreground. I'm completely hooked.

I think 3-D is a still unexplored cinematographic story. In my books, it's the ideal medium for the documentary of the future. It's not invented to show us different planets.

It's invented to show us our own planet. In 3-D, the body has volume. The body is an instrument to discover and conquer space.

Everybody thinks that depth is the great thing about 3-D. But in my book, volume is the great thing. She wanted each dancer to be completely himself or herself.

She didn't want them to play any parts. That was an amazing process to see. To see them do it, not fake it. I believe very much in overseeable budgets.

I really believe in films where the money allows freer expression but the budget isn't that big that people are breathing down your neck all the time and looking at what you're doing.

The movies that I really enjoy throughout the whole history of Hollywood were never the big pictures; they were the underbelly.

In a nutshell, Hammett was shot twice. The first film was shot entirely on location in San Francisco. Not a single second in the studio, everything on location in real places in San Francisco.

The studio didn't like it. There wasn't enough action, too much time was dedicated to Hammett the writer and not enough to Hammett the detective.

He became a writer out of necessity because he became sick and couldn't work as a detective anymore. He decided to write about his experiences and "Hammett" was based on that idea.

So my first shoot was strictly set in San Francisco and really based on the actual character of Hammett. The studio didn't like it, they thought it was too slow and they wanted more of the fantasy and the detective.

In the final product ten shots survived from my original shoot: only exteriors. Because there wasn't much money left, and I was too stubborn to drop it or say, "Well then let somebody else do it.

So I ended up shooting the second version as well. That was entirely in one sound stage. It doesn't exist now.

They only kept a cut negative, everything else is junked. Which I found out really late and I don't know who was to blame.

I don't know. Anyway, I was very disappointed. At one point I suggested to Zoetrope that I could finish [that version] and wouldn't it be an interesting case study to present the two films?

They said, "Oh yeah, that's interesting, let's find out," and then eventually the guy who was responsible for this did the whole inventory and said, "I'm sorry we couldn't find your film.

I think the artistic process is one of the great adventures left in our modern times. There are very few adventures left to be done by traveling anywhere because everyone has already been everywhere, but creation is still a great adventure.

Films can heal! Not the world, of course, but our vision of it, and that's already enough. To be so radical, and once you've made a realization, draw your conclusions and then change your life, that was something amazing.

This man had a great career as an economist ahead of him, and then realized he had a gift for photography and completely changed his life and started from scratch.

I don't think many people do that today. And then 30 years later, he gave up that photography because he realized he couldn't handle it anymore.

He put his camera down and said, "That was the last picture I've taken. I can't do it anymore. Traveling was once a privilege, and being on the road was a state of grace, and not that many people dared to take that liberty.

But today, anybody can book a flight to the U. I made a film called Until the End of the World , which was really some sort of ultimate road movie.

It was a journey through four continents and a dozen countries. But then it turned into some sort of an "interior journey" into the souls of our central characters.

And those journeys into the mind are definitely more dangerous and revealing today For an American audience, it might sound totally weird when I say I love it [3D] for its intimacy and for the way it brings us closer to people.

My colleagues in America connect 3D with effects, loud stuff, and action. I think its real propensity is intimacy and warmth and immersion.

It's a fantastic tool to discover the world and tell stories of reality, and it's used for the sheer opposite - it's driving me crazy.

I'm very scared that 3D will disappear because people are fed up with it, and think it's baloney, and it's not for them.

I'm scared 3D will disappear without ever having been discovered. They say, We don't like 3D. Then I try to tell them what it's about, and why I like it, and they're still skeptical, because they've been burned.

I am a big defender of the idea that 3D can do things nobody knows about. In the 70s, there was only one kind of film production.

You had a choice to make a film on 35, on 16, black and white, or color, and that was it. And today you can make movies in many ways.

You can make movies much more expensively than we ever dreamt of at the time, and you can make them much more cheaply. Financing and preparing a film is a different ballgame.

You can't get a movie made unless you have a really good script. Especially if you're a big name director. You have more leeway if you're a first time director, today.

If you have a big name, they really want to look at your script. The idea of making a film without a big script, or without a finished script - and I made a number of films without a single page of a script - is unthinkable today.

If I were to go out now and try to make Kings of the Road they would kick me out of any office of whatever institution or distributor it is that I would try to get money from.

Nobody would be willing to invest money in a film with a director who tells you "we'll write it as we go. Yeah, it's much more of an industry now than it was.

At that time, there was more of a notion that filmmaking was part of the arts, a language, a form of expression. And if you said today, Well, I want to make a film where two guys are traveling through Germany and they discover the country, and it's about the state of the cinemas, and all these little towns where there's only one cinema left, and it's dying But at the time, we could still finance the film and I could shoot it over a long period, 11 weeks.

Today films have to be made so much quicker, and you have to prepare them for so much longer. Also in post-production, it takes so much longer.

At the time, with linear editing, I'd never spend more than a few months in the editing room. But today with digital cinema, you sit there for a year.

And then you work on your sound for another year, or six months. So it's all a slower process. Financing a film takes much longer.

And very often they tell you, Well, it sounds promising, but we think you need to fiddle around with the script a little more - come back again. I've made more documentaries over the last decade than ever before, mainly because there was so much more freedom in that field, and people could accept that maybe you'd just write a short treatment and not a script.

Even in the field of documentaries, I tell you, my students who go out and make their first feature films, they expect to do a documentary based on a script - believe it or not.

So it gets a little out of hand. People want more security. They want to know before they make a film what it's going to be like.

I was very privileged to start in the 70s, and really make a film a year for 10 years.