- 3 months ago
Disaster Transbian episode 2
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00:00Are you ready to tell us?
00:02Diener werden sie jetzt hinaus in die Küche beleiten.
00:30Der Koch meiner Hunde wird ihnen jetzt seine Mahlzeit zubereiten.
00:34Haben sie vielen Dank, mein Herr.
00:36Sie waren wirklich vorzüglich.
00:41Auf den Koch ihrer Hunde.
00:47Auf Berdy.
00:51Auf Rossini.
00:55Auf Caruso.
00:57Auf Hitz-Garaldo, den Eroberer des Nutzlosen.
01:00Auf ihr Wohl.
01:06So far wie ich jetzt vor Ihnen stehe,
01:09werde ich eines Tages große Oper nach Aikidos bringen.
01:13Die Wirklichkeit ihrer Welt ist nur eine schlechte Karikatur
01:17von dem, was sie sonst in großen Opern aufführungen sehen.
01:21There are few films more infamous than Werner Herzog's Fitzcarraldo,
01:25the brainchild of cinema's most renegade filmmaker.
01:30Fitzcarraldo was intended to be a modern epic unlike anything that had previously been attempted.
01:35And unlike most directors who proclaim such bold intentions, Herzog followed through on his word.
01:40The film tells the story of Brian Sweeney Fitzgerald, Klaus Kinski,
01:44a rubber baron who is determined to transport a steamship through a mountainous region of the Peruvian rainforests.
01:52And Herzog's devotion to authenticity quickly resulted in a production fueled with as much irrational desire as its protagonist.
02:00The litany of problems the cast and crew had to endure,
02:04which includes multiple deaths, two plane crashes, and even a minor war with the indigenous population.
02:12Saw Fitzcarraldo became the stuff of legend before it had even reached theaters.
02:16And its subsequent glowing reception that saw Herzog winning the award for Best Director at the 1982 Cannes Film Festival,
02:24cemented it as a defining, albeit controversial, piece of arthouse cinema.
02:32Fitzcarraldo was in jeopardy from day one.
02:35Perhaps the most surprising aspect to Fitzcarraldo is that, despite boasting such a fantastical story,
02:42it actually has its roots in historical fact.
02:44The fact, Carlos Fitzcarraldo may not have been quite as megalomaniac as the character he would later inspire,
02:52but he was still a power-hungry rubber baron who supervised the transit of a steamship from one treacherous region of the Madre de Dios to another.
03:01However, while the real Fitzcarraldo's ship weighed only 32 tons and was disassembled prior to being moved,
03:08and Herzog's creation took things to another level of madness with a 320-ton behemoth that would be transported all at once.
03:18Considering Herzog has always prioritized evocative imagery in his films,
03:22it's no surprise that his tale of deluded passion to better illustrate its thematic core.
03:28What is surprising, however, is that he was able to realize this through entirely practical means.
03:35Borderline unbelievable, in fact.
03:38But the word unbelievable has never been part of Herzog's lexicon,
03:42allowing him to transform Fitzcarraldo into one of the most enthralling cinematic experiences of your life.
03:48But the line between genius and insanity is a thin one,
03:52separated only by success and failure, as the saying goes.
03:56And Herzog's commitment to delivering the best film he could resulted in a hellish production,
04:02beaten only by Apocalypse Now,
04:04an apt comparison given how much overlap they share.
04:08And just like Francis Ford Coppola's masterwork,
04:11location proved to be the source of most problems.
04:14In this case, even before a second had been shot,
04:17Herzog insisted on shooting Fitzcarraldo in the heart of the Peruvian rainforests,
04:23but finding an acceptable locale proved difficult.
04:27His first choice was deemed unusable due to a border war between Peru and Ecuador,
04:33and efforts to find a replacement was hindered by how impenetrable the region was.
04:38The only location that would suit his particular need,
04:42one with two parallel rivers that come within touching distance,
04:45thus allowing for the transportation of a steamship,
04:49was hundreds of miles from the nearest city,
04:52and accessible only by plane or boat.
04:54It wasn't perfect,
04:55but it was the only way he could achieve the impossible.
04:58Then Herzog would make it work.
05:00However, this was only the start of his problems.
05:03The remoteness of the set prevented easy access back and forth,
05:07forcing the crew to live in a makeshift village with only limited food and medical supplies.
05:13Having to contend with such an inhospitable environment for months on
05:17would drive anyone to their breaking point,
05:20even more so after witnessing two plane crashes that saw five members of the team injured
05:25and another paralyzed.
05:27No wonder Herzog packed the crew full of prostitutes in a desperate attempt to keep people happy.
05:33Even on the ground, things were no safer.
05:35One crew member was bitten by a venomous snake and forced to amputate their leg with a chainsaw,
05:40while the film's cinematographer Thomas Mauch had to undergo hours of improvised surgery
05:45after tearing apart his hand, all without anesthetic.
05:49If you fall down, I'll catch you.
05:53I'll risk you something.
05:55Listo.
05:55Listo, senores.
05:56Klaus, come over.
06:20That was pretty good.
06:21Pass on.
06:21You're right here.
06:23It's very fast.
06:25It's very fast.
06:25I'm afraid he's even...
06:27No, no, no.
06:28He's in the front of the truck.
06:28He's in the front of the truck.
06:30Klaus, come.
06:31Klaus, come over.
06:33Klaus, I'm going over.
06:35It's all right.
06:42Klaus, come over.
06:45Thomas, we're back in.
06:45Ja, na gut.
06:46Wir don't know, we're talking about this.
06:47Ja.
06:48Ob das jetzt zwei oder drei.
06:50That's not so strange.
06:51Hast du dir nichts eigentlich kaputt gemacht,ação?
06:52I have to go to the front.
06:54I have to go to the front.
06:56And here, I have to go to the front.
06:58That's my best blood.
07:00And I have to go to the front.
07:02And I have to go to the front.
07:04Schade, Klaus,
07:06that you were away from before the front is.
07:08That was the idea!
07:10You're an idiot!
07:12We flew in the front.
07:14We flew in the front.
07:16You're not going to go away.
07:18This optic flew from the front.
07:20That was the idea!
07:22Hold on!
07:24Immer näher!
07:26Immer näher!
07:28And in this panic I cried.
07:30The engine! The engine!
07:32And it hit me.
07:34And it flew.
07:36It's not going to go to the front.
07:38The engine!
07:40The engine!
07:42The engine!
07:44The engine!
07:46The engine!
07:48It's not going to go away!
07:50The engine!
07:52The engine!
07:54The engine!
07:55I'm of!
07:58I'm of!
07:59I'm of!
08:01I'm of!
08:02I'm oooon!
08:06Tensions were high,
08:08with Herzog making the brunt of their anger.
08:10No one's on my side any more!
08:12He reflected after months of bitter filming.
08:14Not one single person.
08:16person. But the location was far from the only hurdle Fitzgerald had to overcome. Filming
08:22originally began with Jason Rabards in the lead, but he was forced to drop out some ways
08:27into production after contracting dysentery. The film was almost halfway done by this point,
08:32and it took all the convincing in the world for the producers to inject yet more cash
08:36into the project to keep it afloat, although it didn't come quick enough to stop Mick Jagger,
08:41who had been set to play Fitzgerald's assistant from also leaving due to prior commitments.
08:50Eventually, shooting restarted right back at page one, only this time with Herzog regular
08:56Klaus Kinski in the role. The two had previously enjoyed great critical success with films like
09:01Aguirre, The Wrath of God, and Nosferatu, The Vampire, but their turbulent relationship that
09:06veered on hate, far more than love, had made them the most notorious director-actor-partnership
09:12in film.
09:12It was then again that next problem. And it explains itself that he had once a Jesus-Tourne
09:20just broken up, was in large arenas on the spot in Berlin, and the audience wanted him
09:28to see him in January. And he got lost, he got hurt, he got hurt, he got hurt, he got hurt,
09:35he get hurt, he got hurt and killed, and shook and broke. And he began here as an
09:39en person who became abreast and ruled by
09:58Kinski, you have to go to the tour with a little aforementioned title.
10:09Would it be possible that you would like to give a cost of your program?
10:14No, I can't. But I don't know what you mean by the aforementioned title.
10:19Tell yourself about it.
10:21The special thing was that I lived here with Klaus Kinski three months.
10:26From the first moment he had everything that was here,
10:30there were eight parties who lived here, terrorized.
10:33And so he had to go to the bathroom.
10:36And Kinski had to go to the bathroom in this bathroom two days and two nights,
10:4248 hours, and he had to go to the bathroom.
10:47He had to go to the bathroom.
10:50The bathroom was there.
10:52Everything that was there was there, could be a tennis racket.
10:57It was really incredible, because I had never been able to do this for possible,
11:02that someone can 48 hours to go to the bathroom.
11:05And one day, there was Kinski's big roadway in the entire corridor.
11:12I heard a lot of noise and I heard a lot of noise.
11:15And then there was a explosion.
11:17The whole door was in the room.
11:21He was in the room.
11:23He was in the room.
11:24He had to go to the bathroom.
11:25And then he had to go to the bathroom.
11:28He had a very very awkward movement.
11:29He had a glass of water and had a cup of water.
11:33He had a piece of water.
11:36and it set something down.
11:39It was a helmet and he could scream incredibly.
11:42He could sing the wine.
11:45And he was in three octaves too high.
11:48Clara!
11:50You!
11:51And he was the helmet not enough to be able to be able to.
11:56Clara had him here to live here,
12:00he wassing him with his washing.
12:03Also, here at the dinner, there was a critic invited,
12:08who saw him, when he saw a theater, where Kinski was very short on,
12:14wrote that he would say, he was amazing and extraordinary.
12:18And Kinski immediately threw two hot dogs in his face,
12:24but in a blitz-like movement, he sprang up and said,
12:28I was not written, I was not brilliant, I was monumental, I was epochal.
12:40Yes, they were very, very strong, and that I would work with him later
12:45and would make five games with him, was of course never...
12:51Considering that Aguirre, their last collaboration in the Peruvian rainforest,
12:55had seen Herzog holding Kinski at gunpoint to stop him from jeopardizing his shoot.
13:01It was hard to see how Fitzgeraldo could be worse.
13:04Kinski's volatile behavior and incessant complaining over relatively minor issues
13:10earned him the ire of the entire crew, specifically the indigenous extras,
13:15who almost immediately turned hostile towards him.
13:18Herzog later recounted that the chief of a native tribe offered in all seriousness
13:24to kill Kinski for him.
13:25But he declined, lest he be forced to start the whole film over again.
13:29Also, he had to explain to him,
13:35that he had a very, very, very, very human power,
13:38that he could immediately,
13:40like by a wild bear,
13:43in violence,
13:44and in abuse,
13:47from unknowing amounts,
13:50who could not have to attack him.
13:51Schreie, I make a film here!
13:52William Pimmel,
13:53schreie ich?
13:54Oder schreie ich nicht?
13:55Und du,
13:56sagst es mir nicht,
13:57aber ich schreie aber auch nicht!
13:58Leck mich doch am Arsch!
13:59Denke, Moment,
14:00ich bin überhaupt gekommen,
14:00wo ich dir in die Fresse haue.
14:01Was?
14:02Ich schlage dir in die Fresse,
14:03da hast du dich verlassen, du!
14:05Diesmal sitze in dem Kostüm,
14:07in deiner scheiß Karre in Holland!
14:09Mach zu, mach zu!
14:11Trau dir nur!
14:12Schreie dich zusammen, du!
14:13Wenn du zufried wirst!
14:14Trau dir nur!
14:15Dieser Streit hier,
14:16nebenbei mitgefilmt,
14:18betraf den verdienstvollen Produktionsleiter Walter Sachser.
14:22Zufälligerweise war ich einmal nicht gewöhnt.
14:24Euer Gewichser mit eurer Freundschaft!
14:26Ich möchte dir einen Dreck!
14:27Ihr brauchen einen Fotografen!
14:29Verstehst du?
14:30Mach doch deinen Scheiß!
14:33Der Anlass war vollkommen nichtig
14:35und ich selbst griff erst gar nicht ein,
14:37weil Kinski im Vergleich zu anderen Ausbrüchen eher milde wirkte.
14:41Mach deine eigenen Sachen!
14:43Du hast genug zu tun!
14:44Von jetzt kriegst du überhaupt nichts mehr zu tun!
14:46Verstehst du das!
14:47Ja, Karku musst du ja nicht pressen!
14:48Du bist voll Idiot!
14:49Du musst es ja nicht pressen!
14:50Was sagst du?
14:51Frisst, was du willst!
14:52Du bist ja schonmal wie ein Wiener,
14:54wie ein Gezuchter auswerder, du Arschloch!
14:56Du willst mir bestimmt mal nicht zu fressen kriegen!
14:58Das werden wir erleben!
14:59Das ist nichts!
15:00Was?
15:01Da ist Werner!
15:03Komplett!
15:07Wir trafen uns beim Festival in Telleride, Colorado.
15:10Zu dem Zeitpunkt hatten wir bereits drei Filme zusammen gedreht
15:14und hatten uns eine Weile nicht gesehen und freuten uns aufeinander,
15:18ob noch kurz zuvor den Plan aufgegeben hatte, ihn zu ermorden.
15:23So weit, dass ich eines Tages allen Ernstes plante,
15:28einen Feuerüberfall auf ihn und sein Haus zu verüben,
15:31das wurde damals nur vereitelt durch die Wachsamkeit seines Schäferhunds.
15:36Wow!
15:38Da hatten die Indianer furchtbar Angst.
15:41Man hat das sehen können.
15:42Wir hatten ja insgesamt 370 Leute aus dem Hochland dabei,
15:46die nur Quechua sprachen und also gar nicht wussten, was da los ist.
15:49Aber sie haben natürlich diese Erregung mitgekriegt.
15:52Und die steckten einer von den Häuptlingen zu mir und sagte mir,
15:55ja, ich hätte wohl bemerkt, dass sie Angst gehabt haben.
15:59Aber ich sollte ja nicht meinen, sie hätten Angst gehabt vor diesem Wahnsinnigen,
16:04der da so herumgeschrien hat.
16:06Die hatten Angst, weil ich so still war.
16:09Plus der Dreharbeiten gegen Schluss boten mir die Indianer an,
16:14dass sie den Kinski ermorden würden für mich.
16:16Sie sagten, sollen wir ihn töten für dich?
16:18Und ich sagte, nein, um Gottes Willen, ich brauche ihn ja noch zum Drehen.
16:22Lass den mir, lass den mir.
16:24Und ich lehnte das damals ab, aber die waren ganz ernst.
16:28Sie hätten ihn tatsächlich ermordet, wenn ich das gewollt hätte.
16:33Ich bedauerte natürlich sofort, dass ich die Indianer von ihrem Vorhaben abgehalten hatte.
16:39Hier war übrigens der Vorschlag zur Beseitigung Kinski's gekommen.
16:51Die Stinkwut, die die Indianer auf Kinski hatten, ist hier für mich ganz deutlich spürbar
16:56und wurde für diese Szene bewusst genutzt.
17:00Die Stinkwut, die die Stinkwut, die ich nicht so begrüßt, die sie nicht so begrüßt.
17:05Das ist die Zinkwut, die ich nicht so begrüßt, die ich nicht so begrüßt!
17:07Das ist das, was ich nicht so begrüßt!
17:08Der Integang, das war jetzt so glücklich.
17:09Das ist ein Wunderstand!
17:10comes through in Kinski's performance, a whirlwind of explosive madness that fits Brian Sweeney
17:17Fitzgerald like a glove. But it's worth remembering the hardships he forced the crew to endure,
17:22most of whom had been on set far longer than him. Herzog was committed to transporting the
17:27steamship without special effects. And still the problems continued amidst one of the driest
17:33summers in recent history. A neighboring Amawaka tribe raided the film's camp, leaving one person
17:39with an arrow stuck through their neck and another one in their stomach, requiring eight hours of
17:44surgery on a kitchen table, during which Herzog continuously sprayed insect repellent in the air
17:50to keep mosquitoes away. Mercifully, both survived. In retaliation, the indigenous tribespeople working
17:57on the film planned their own attack, but Herzog persuaded them otherwise, as it wouldn't play
18:03very well in the international press. Most tragic of all were the multiple deaths that occurred during
18:10production, one from a tribesman who drowned after borrowing a canoe without permission, and others
18:16who succumbed to disease. How much responsibility Herzog had in their deaths remains a point of
18:21contention, but it's clear that the increasing calamity that was Fitzgerald had taken its toll on
18:28him. I shouldn't be making movies anymore, he admitted. I should go to a lunatic asylum. Keep in
18:35mind, all of this before we've got to the task that had given life to Fitzgerald in the first place.
18:40How to transport a 320-ton steamship up a 40-degree slope in one of the most dangerous locations on the
18:49planet. Right from day one, Herzog resisted any compromise to this monumental task. There was a
18:55time when 20th Century Fox was in discussions to produce the film, but this proposal crumbled to
19:01dust after Herzog rejected their idea of using plastic models and shooting the sequence on a
19:07studio backlot. After securing the necessary financing, Herzog set to work conquering the
19:13unconquerable, inadvertently becoming just as consumed with blind obsession as his character. It took years,
19:20but with the combined efforts of hundreds of extras and an elaborate pulley system, courtesy of a
19:26Brazilian engineer who later quit the film after Herzog ignored his pleas that it would likely break,
19:32claiming dozens of lives in the process. Herzog achieved the impossible, and what a spectacle it is,
19:39if you can ignore what it took to get there, that is. Fitzgerald is a difficult film to watch,
19:44but also a very powerful one. There's a reason why Fitzgerald is one of the most controversial films
19:50ever made. On the one hand, it contains some of the most awe-inspiring filmmaking ever to grace the
19:55silver screen. With moments of such overwhelming beauty, it's hard to believe that what you're watching
20:01is actually real. On the other hand, the horrendous nature of its production that left a few people
20:07dead and countless more injured, and that's not even considering the mental toil such an ordeal would have
20:12left cast the film under a heavy shadow that taints the whole experience. There's no excuse for what
20:19happened behind the scenes, but since plenty of critics have defended Herzog with the argument that
20:24a more conventional shoot would never have replicated the grandeur that makes Fitzgerald so impactful,
20:30whilst also perfectly mirroring the oversized ego of its protagonist, it makes for a complicated debate.
20:37Either way, there's no questioning Fitzgerald's legacy. For Herzog, Kinski, and cinema in general,
20:43it's one of the few films that's impossible to discuss without first embarking on your own lengthy
20:49undertaking about its torturous production. And most people who watch it today will likely do so out of
20:55sheer morbid curiosity, eager to find out if what Herzog came back with was worth the pain. No wonder 1982's
21:02Burden of Dreams, previously just a simple making-of documentary, is now regarded as its direct
21:08companion, and anyone brave enough to learn more about Fitzgerald's development could definitely seek
21:14it out. If it wasn't for Burden of Dreams, it would be easy to mistake the legends behind Fitzgerald as
21:20the latest mad ramblings of a director who's always seemed like he's just clawed his way out of a
21:26brother's grim folk tale. But it really did happen. That and so much more. Even with proof, it's still hard to believe.
21:38It's not only my dreams. My belief is that all these dreams are yours as well.
21:56And the only distinction between me and you is that I can articulate them.
22:00And that is what poetry or painting or literature or filmmaking is all about. It's as simple as that.
22:09I make films because I have not learned anything else. And I know I can do it to a certain degree.
22:18And it is my duty. Because this might be the inner chronicle of what we are.
22:29And we have to articulate ourselves. Otherwise we would be cows in the field.
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