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Director Wim Wenders of "Pina" poses for a portrait during 2011 Toronto Film Festival on September 9, 2011 in Toronto, Canada.
Wim Wenders his beauty & look are characterized by his short hair (ear length) & chic hairstyle. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!
Dominique Mercy, Wim Wenders, and Gian-Piero Ringel attend the press conference for the movie 'Pina' in Wuppertal, Germany.
Once you’ve absorbed Wenders’s detached but always elegant visual style, it starts to invade your own view of the world. In recent years, Wenders has also explored his obsession with place through photography, in haunting, richly detailed images that are as large in scale, ambition and impact as his films. Entering the 70-year-old film-maker’s office is like being admitted to a kindly headmaster’s study. The son of a Dusseldorf surgeon, Wenders sprang to prominence in the early Seventies, as part of the New German Cinema movement, a generation of young film-makers, that also included Rainer Werner Fassbinder and Werner Herzog, who reacted against what they saw as the bleakness and alienation of post-war Germany, inspired equally by the student revolutions of May 68 and rock-and-roll. By the age of 27 Wenders had three feature films under his belt and considerable acclaim, but felt he was still over-reliant on external influences, from Hitchcock to Godard.
A fictionalised tribute to crime writer Dashiell Hammett, produced by Francis Ford Coppola, 1982’s Hammett was a dream project that turned into a four-year nightmare, beset by conflicts over authorship and control.
The extraordinary success of some of his subsequent smaller projects took even Wenders by surprise, and was not, you feel, an entirely unmixed blessing.


Wenders’s most notorious failure was Until the End of the World (1991), conceived as the ultimate road movie, a form Wenders has made his own – he even called his production company Road Movies.
The odd critical catastrophe has done nothing to staunch Wenders’s prodigious output of more than 50 films.
He now spends the half of his time when he isn’t making films travelling the world with his wife Donata, also a photographer, looking for extraordinary images and places, which he records in photographs, working always alone and using traditional analogue film. Check out his real hair and eye color & learn about his health (smoker?) & his beauty types & tips.
Thinking back to Wenders’s 1984 breakthrough Paris, Texas, it isn’t Harry Dean Stanton’s gaunt features that come to mind, or even Nastassja Kinski in a pink mohair jumper, but the incandescent, sun-bleached landscapes of the Mohave Desert. His brand of cinematic existential cool, in which people seem to be “on the road” even when they’re in one place, perfectly suited the disaffected Seventies. Taking the bus from Berlin’s Tegel airport, on my way to interview him, I find myself seeing the views through the window – people cycling beside canals, queuing for buses beneath quintessentially Germanic apartment blocks – as frames from some imagined Wenders film. A desert road stretching apparently into infinity, a heap of old Volkswagen cars in the Australian outback, an abandoned Ferris wheel rising from a desolate Armenian plane – all are seen in prints two metres high and up to five metres wide. With his thick grey hair and signature blue spectacles, Wenders is an owlish combination of humility and the steeliness necessary for survival in the cut-throat world of film. He “staked everything” on his fourth feature, the micro-budget 1974 film Alice in the Cities, “to prove, if only to myself, that I could make a film on my own turf, that nobody but me could or would have made”. But while early essays in the genre such as 1976’s wonderful Kings of the Road, didn’t stray beyond the autobahns and country roads of provincial Germany, Until the End of the World, co-scripted with his then wife, Wings of Desire star Solveig Dommartin, was shot in 10 countries, incorporated science fiction elements and lasted four-and-a-half hours in Wenders’s own cut.


He has been married five times – twice to his leading ladies: Dommartin and Lisa Kreuzer, star of some of his early films – but has never had children. While Wenders has a new film out this autumn – Every Thing Will be Fine, with James Franco, Rachel McAdams and Charlotte Gainsbourg – isn’t he really now a semi-retired film-maker, with photography a sort of hobby? In Wings of Desire, released in 1987 and considered by many to be his masterpiece, the plot about angels come to earth feels subservient to the pungent melancholy of Berlin in the period just before the Wall fell. It brought him major international success in the Eighties, before he took a turn into documentary, beginning with the Oscar-nominated Buena Vista Social Club in 1999 and leading most recently to The Salt of the Earth, his 2014 tribute to the Brazilian photographer Sebastiao Salgado. A laid-back road comedy featuring a grumpy journalist and a precocious nine-year-old girl, it established Wenders as one of the key film-makers of the era, and led eventually to a summons from the place that had inspired his first filmic endeavours, Hollywood. Then you make another film, Wings of Desire, which is the radical opposite of that, just to prove you’re not willing to repeat yourself, and it’s even more successful. It offers me something I can do on my own, without the obligation of telling a story and without all the apparatus of a production and a hundred people around me.



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