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In NYCa€™s cut-throat world of art, appearances can be deceiving a€”especially when newcomer Alice becomes a murder suspect.
In this film, the prolific German documentary director Wim Wenders has taken on the subject of Japanese fashion designer Yohji Yamamoto as he prepares to debut his designs for another season in Paris. Having begun his career as a painter and photographer, but realizing he was movie-obsessed, Wenders became part of the loosely affiliated and hard-to-define New German Cinema of the 60s, along with Werner Herzog.
This fall sees the release of Portraits Along The Road, a touring retrospective headed to major cities of restored versions of Wim’s entire career, to be followed by Criterion editions. Of special interest is a long-lost masterpiece: the 5-hour director’s cut of Until the End of the World. Inarguably one of the most ambitious movies ever made, the epic scifi road movie Until the End of the World was shot for real in 15 cities on 4 continents.
This winter he will also release his new movie Everything Will Be Fine, an intimate character drama photographed in 3D, a seemingly low key but ambitious exploration of using the new photographic medium to portray emotion. We began talking in NYC at Criterion’s headquarters about how Until the End of the World came to be, and the constant nexus between filmmaking technology and storytelling. I was so taken by the Aboriginal culture and by the idea of dreamlines and songlines that I started to write a science fiction film about the end of the world, where the images of the world were saved, in a remote place in the Australian desert. And I was in Australia writing that story, when a friend of mine forwarded a telegram, a friend who lived in Sydney and who knew how I could be reached in the Outback. And I thought ok, that’s too good to be true, but I’ll be back in a year to continue this science fiction idea, not knowing that it was going take me a little over five years, and when I came back to the same idea, the Australian outback, that was then in the mid 80s and then it took me another five years to get the movie done. No, we did the journey… I had told her about my science fiction idea and we made the journey and continued developing it and that added the world trip to it. Until then it had been a science fiction movie only to be done in Australia, and then it became sort of a long journey, that was followed by a journey into the interior.
Which is really blowing me away because something extraordinary about the structure of the film’s story hit me last night.
Given that, the film goes to the absolute end of travel… We end up in the Australian Outback with hand cranked petrol engines, and the only place to go beyond that is into the interior of the human mind. It was part of the very initial science fiction idea that it would be about the future of an audiovisual culture, but in the time from when i first conceived it until we finally finished the writing in 1989, so much happened. It wasn’t anything that you would already be able to apply in movies, but I saw for the first time prototypes of HD machines that Sony developed with NHK in Tokyo and talking to them in 1989 they said well its way too early, but maybe in a year we’ll have the first operational studio.
I had gone there because in the preparation of Until the End of the World and the idea that there was going to be dream sequences and dreams extracted from the brain, I realized that we couldn’t do this with film. I realized we needed a whole different language to somehow remotely even be able to enter into the brain or enter the realm of dreams. And after the end of the shoot I spent three months with my digital editor who worked on commercials in London and who was the first person I had met who was able to compose digital imagery but not on HD, in PAL. We found ways to speed up images or to slow them down and the strange phenomenon you see when you speed up digital equipment, that it sort of dissolves. You introduced the director’s cut of the movie at a rare MOMA screening last Spring, and you said, “It’s funny to make a scifi film that becomes a period piece”. But it’s pretty uncanny… Another moment that got a huge reaction from the audience for the director’s cut was when the characters become addicted to these little portable devices. The way you’ve always written and discussed technology in relation to art is never skeptical or reactionary. This film Until the End of the World owes a lot to a tiny little film I made before - I don’t know if you’ve seen it, it’s called Notebook on Cities & Clothes. So it was just you, even more stripped down than a production like Alice in the Cities, making films directly from yourself.
This is going to get heavy but I have to ask you about where we’ve arrived at today in our visual culture. Only a few miles from here, a Black man was murdered on camera by police, and it was recorded on a cellphone and uploaded to the Internet.
I believe it’s a horrible thing to watch, that there is a responsibility on anyone who sees it. This being a retrospective, and going over so many of your films, I’m fascinated by… Even though you love genre, and you’ve made some movies in transgressive genres like thrillers, and you love filmmakers like Scorsese and Hitchcock, in every single one of your films you have never fetishized violence. Yeah, it seems so willfully rebellious to me, the way you portray violence, your refusal to ever enjoy it cinematically. The images of Eric Garner, the images coming out of Ferguson, the images of people streaming video directly to the Internet… Something that’s come out of it is: why do we have a culture of these images but no political change?
I think that was all based on an old idea that images are produced and distributed by somebody in power.
Are you finding in your daily, day to day life that you’re using online video, livestreaming, all these new ways to watch? I had a great time interviewing cartoonist Daniel Clowes at Meltdown Comics in Los Angeles about his Complete Eightball anthology. When the mood strikes you and you’re looking to light up, you shouldn’t have to hunt around for all the things you need: your pipe, your grinder, your favorite munchies, and so on. Everybody knows that if you want to earn the big bucks these days, you need to learn how to code. Boing Boing uses cookies and analytics trackers, and is supported by advertising, merchandise sales and affiliate links.


On definit comme basique toute piece indispensable parce que facile a porter et bien coupee, autrement dit parfaite. Enabling JavaScript in your browser will allow you to experience all the features of our site. The documentary is as much a meditation by the director on the meaning of documenatries and information in the age of electronic data and computerized images as it is about the skill, dedication, philosophy and work of the fashion designer. The German filmmaker secured a legendary reputation early on for the successive one-two hit of his widely regarded masterpieces Paris, Texas and Wings of Desire. Yet he is much more than an accomplished filmmaker: he’s someone who cares and thinks deeply about the meaning of images throughout our entire “audiovisual culture”, as he calls it, and has reached out and experimented in every medium to understand and share that with us.
Released in 1991 in a compromised shortened version, Wenders hid the film negative at his own expense, and, after a handful of legendary screenings over the years, we are finally getting to see it a quarter of a century later. He has quite a lot to say about 3D and its misuse, which is hard to ignore as he’s thus far made the only 3D documentary considered a masterwork. That led us to his other work and how it has been at the vanguard of questioning and exploring the radically transformative new terrain of digital images, and what meaning we can find in those images today. So what came first, the idea of doing a science fiction movie, a road movie set all over the world, or did it come all at once? He forwarded a telegram that he had gotten from my office because they didn’t know how to reach me, a telegram from San Francisco, from Francis Ford Coppola, if I would be willing to talk about a movie called Hammet. We made the entire journey, which then led to the realization it was too early and we couldn’t get it off the ground and then instead we made Wings of Desire. I’ve always been fascinated by how the history of film runs parallel with commercial air travel… The very nature of travel has changed hand in hand with filmmaking. It’ll be strictly prototypes, but maybe in a year we could possibly be talking about producing something with it. In a long research about all dream sequences that had been done in the history of movies, and I really think I collected each and every one of them, the striking fact was that it never looked different than film. So I went to Tokyo with the hope that this new digital technology that I didn’t know much about could possibly be the way and they said well maybe in a year.
Together we went to NHK and we were allowed access to their prototype editing suite and we were the very first people in there, we were the very first people to produce something in there, and they had not done anything themselves. And I used my own super 8mm footage from my own childhood and that’s basically the material of the dreams, is my own parents and my brother and it’s basically what I shot as a kid on Super 8mm.
In the end, Sean the editor and me, we lived in that suite and after 3 weeks we had not finished.
And in that film I use a lot these first generation of little tiny hand monitors that were basically gadgets. I think so, but when I started Everything Will Be Fine which was while we were doing Pina, I thought, when this film is gonna come out in a few years, it will be one of many in a landscape where it’s universally accepted that it’s a beautiful language that applies to reality just as well as fantasy and that you can do documentaries and intimate movies and auteur driven movies and arthouse movies. And it has been one of many such incidences that has caused a political uprising here, mass demonstrations which haven’t been seen in decades. It’s amazing that before it became news it was just online, an entire murder by police, ruled so by our city coroner. Does that come out of some life experience, out of the years you grew up in Germany, or ideas you had about cinema?
You have said that images can only change our perception about the world, the narrative we create. When I said these things I had no idea that eventually these things (he picks up my phone) could be seen by millions of people without any power involved.
This video was shot in glorious VHS by filmmaker Rocio Mesa and was produced by Gaston Dominguez-Letelier.
Even now, having just celebrated his 70th birthday, he was recently Oscar-nominated for his documentaries Pina and Salt of the Earth, and continues to take photographs & write essays about art and film, with a new volume yet to be translated into English.
While it is definitely an artifact of the last millennium’s end, the film is eye-openingly prophetic today: after traveling the entire world, the plot hinges upon a camera that can record images for blind people to see, which leads to addiction to tiny digital handheld monitors.
Without even knowing where I was going, because I was in Bali, on an endless vacation after The American Friend (his 1977 movie with Dennis Hopper).
And it was from the beginning very much a science fiction film inspired by the Aboriginal culture of dreaming, and of caring for the land, and how images for them were important to survive. And then I spent a year trying to get it off the ground, realized it was way too early and it was so expensive.
Why did you foresee that this impulse would lead us to wanting to go inside ourselves, that would be the new frontier? Even some famous dream sequences, Hitchcock and stuff, were basically not that different from the language that the films used for their stories.
Then we started shooting Until The End of The World and in the film we left out all the monitors. They had produced the machines and most of the equipment was digital although some of the links were still analog. But what was it that made you think we were going to become addicted to little handheld devices, obsessed, self obsessed? And that was the first time you could have an image in your hand, like today with an iPhone.
It is the fact that I so much believe in 3D and embraced it in such a big way, and now I realize it’s going down the drain.


People say no I don't want to see it because I have made a resolution in my life I’m not seeing any more 3D movies.
Joseph Cyr, a surgeon Lieutenant of the Royal Canadian Navy, was on board a Navy ship in waters off the coast of North Korea. Satures de cette boucle infinie, nos vestiaires s’accordent sur le champ lexical du pratique, du declinable. L’artiste opere, sur une grille prealablement construite, des formes declinables a l’infini. Cependant, nous irons volontiers faire les vacanciers a Tokyo pour s’accaparer la pensee de Yohji Yamamoto.
Wenders wanted to make a movie about “where visual culture will take us” and we’re finally arriving at what he glimpsed. I didn’t know anything Australia, about their culture, but I was very eager to learn and I spent several months in Australia zigzagging. At that time, I met some of the very first aboriginal painters who had started to work on canvas.
I did Wings of Desire and then I came back to it, the third time I came back to Until the End of the World was in 1988 and this time we got it off the ground.
Cause they weren’t ready yet, so all the monitors were green-screen because we didn’t have anything to put on them. All of it prototype machines and Sony and NHK had decided together they would give us access for three weeks. How the images dissolved and wooosh were gone and we found ways to record that and to play it back and slow it down in order to really have the effect that each image was dissolving into its own atoms. We shot a little bit with the actors, with Solveig and with William Hurt and Max Von Sydow, but not much.
They were still not as flat, they were clumsy, it was not digital, it was high 8 and it was the first time you could have an image in your hand. I had no idea that by now people would be able to film something and reach a world audience without any institution, any political power, any television station being involved. Quitte a prendre a la lettre l’idee d’infini, autant se mettre a l’heure de l’atemporel et choisir l’uniforme ou l’usage illimite de ses bons basiques : c’est la repetiperfection.
On y voit la petitesse de notre espece cherchant a controler l’univers et ses multiples particules.
Il en va de meme pour l’uniforme : on choisi une silhouette, on s’y tient puis on varie la couleur, l’ourlet, la matiere, etc.
With the help of Peter Carey, and first with the help of a young filmmaker from here in NYC named Michael Almeryeda who wrote the first draft with me and then gave up and then I finished the script. And all of the developers and engineers of these machines were there all the time watching what we were doing because they had never done anything on it. Most of what you see on the screens is my family movies, my home movies, in super 8mm when I was a kid. Sometimes we would walk out in the middle of the night to go to 7-11 store and buy something, but we lived in there for three months and when we had finished we had everything we were going to put on the monitors full frame in the film.
And I realize people already don’t want to see a movie cause it’s 3D because they say, “It’s not for me”.
And I feel the language is meeting a lot of resistance because its present use makes people think its useless for anything serious.
De toute evidence, il existe une homothetie entre ces personnages face a l’espace, et nous devant notre penderie : inquiets a l’idee que ca ne tourne pas rond! I met Emily [Kame Kngwarreye] - I only knew her first name and she’s now represented in MOMA. We didn’t know how to produce the dreams and we basically discovered the amazing propensity of digital high definition images to take each image apart to its atoms, so to speak.
We used it extensively in the film because I was so fascinated by that new possibility, of making notes. So the language, that beautiful language that has just showed up, is already in danger of disappearing because it’s not being used properly and It’s being abused instead.
And that changes the entire ballgame, and that actually questions if these things will not have political impact, after all.
And we realized what we could do with it by destroying the images and by fucking up the images, fucking them up basically, and for the first weeks all the engineers were horrified because we didn’t use the machinery for what they thought was their beauty: high definition representation. That little film I made as a one man crew, I shot on my own and I shot a lot of it on high 8, and I used a lot of these little monitors to reshoot material off of them. And then… I’m not sure if 3D will be relevant in another few years because I think it’s being aborted.
I think that tiny little film that cost three times nothing opened up the way for me to be interested in this digital technology that didn’t exist yet, but I had heard about. Because the elimination of political powers in between will have impact on these political powers.



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