A Quote by Werner Herzog

Perhaps I seek certain utopian things, space for human honour and respect, landscapes not yet offended, planets that do not exist yet, dreamed landscapes. — © Werner Herzog
Perhaps I seek certain utopian things, space for human honour and respect, landscapes not yet offended, planets that do not exist yet, dreamed landscapes.
I see planets that don't exist and landscapes that have only been dreamed.
One problem with people is that as soon as they fill a space it's them you see and not the space. Large, desolate landscapes stop being large, desolate landscapes once they have people in them. They define what the eye sees. And the human eye is almost always directed at other humans. In this way an illusion is created that humans are more important than those things on earth which are not human. It's a sick illusion.
For me a true landscape is not just a representation of a desert or a forest. It shows an inner state of mind, literally inner landscapes, and it is the human soul that is visible through the landscapes presented in my films.
I've dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I've done a few paintings that were exact replicas of images that came to me in dreams.
When a figure painter executes a landscape he treats it as if it were a face; Degas' landscapes are unparalleled because they are visionary landscapes.
The most beautiful landscapes in the world, if they evoke no memory, if they bear no trace of a remarkable event, are uninteresting compared to historic landscapes.
By walking a long time in an environment, landscapes begin to influence on your mood, as( landscapes) change, your feelings do.
These landscapes aren't breaking news or necessarily even illegal. These are intentional, purposeful landscapes, whether to extend our cities or build a mine or put a road in or clear a forest. I've been photographing that which has been intended by us; it's not an accident.
There are landscapes and species that are not going to be here a hundred years from now, fifty years from now. One gift we as writers give to the world is to bear witness to these landscapes and species as we have experienced them.
I think my concern is I know my voice, and I know the kinds of landscapes that interest me, so my primary concern is doing the most I can with those voices and those landscapes.
New Jersey is to New York what Santo Domingo is to the United States. I always felt that those two landscapes, not only just the landscapes themselves but their relationships to what we would call 'a center' or 'the center of the universe,' has in some ways defined my artistic and critical vision.
But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely 1 in 100,000, and paint barely 1 in 100 of those that I photograph. I am therefore seeking something quite specific; from this I conclude that I know what I want.
Strip away the morphing landscapes and rips in the space-time continuum, and my stories are about things that novels have always been about: love and sex and identity and memory and history and redemption.
Why is it so difficult to assemble those things that really matter in life and to dwell among them only? I am referring to certain landscapes, persons, beasts, books, rooms, meteorological conditions, fruits.
In human geography, we think about landscapes as being political, social, cultural, economic, and physical things all at the same time. And that's the way that I wanted to approach the question of state secrecy.
In the United States, we do a pretty good job of protecting iconic landscapes and postcard views, but the ocean gets no respect.
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