Werner Herzog on America and His Lifelong NASA Dream
“The country has always had a capacity to rejuvenate itself, pull itself out of defeat and look to the future. There has always been space there to create real change.”
By Maria Popova
“America,” young Italo Calvino wrote upon his first visit to the United States, “is the land of the richness of life, of the fullness of every hour in the day, the country which gives you the sense of carrying out a huge amount of activity, even though in fact you achieve very little, the country where solitude is impossible.” But for a land this vast, full of this many people of such enormous diversity, what is “America,” really, if not an abstraction onto which each person projects his or her narrow slice of experience? The landmarks, icons, and stereotypes that have come to signify “America” as a kind of shorthand certainly don’t even begin to capture the full dimension of that abstraction, for the measure of any country — as that of any person — lives between the lines of such shorthand, in the richness of the ordinary and the of the aliveness of the mundane.
From Werner Herzog: A Guide for the Perplexed (public library) — the same wide-ranging interview by Paul Cronin, three decades in the making, that gave us the legendary filmmaker’s no-bullshit advice to aspiring creators and his thoughts on creativity, self-reliance, and how to make a living doing what you love — comes Herzog’s meditation on America. Remarking that contrary to some critical interpretations, his film Stroszek was not intended as a critique of capitalism — “The film doesn’t criticize the country; it’s almost a eulogy to the place,” he adds — Herzog tells Cronin:
What I love is the heartland of the country, the so-called “flyover” zone, like Wisconsin, where we filmed Stroszek and where Orson Welles was from. Marlon Brando came from Nebraska, Bob Dylan from Minnesota, Hemingway from Illinois, these middle-of-nowhere places, to say nothing of the South, the home of Faulkner and Flannery O’Connor. I like this kind of terrain, where you can still encounter great self-reliance and camaraderie, the warm, open hearts, the down-to-earth people. So much of the rest of the country has abandoned these basic virtues. I like America for its spirit of advancement and exploration; there is something exceptionally bold about the place. The idea of everyone having an equal chance to succeed, no matter who they are, is impressive. If a barefoot Indian from the Andes had invented the wheel, the patent office in Washington would have assisted him in securing his rights.
As an immigrant myself, having brushed with the less generous sides of American law during my decade-long tussle with the immigration system, I found Herzog’s optimistic take on the attitudes embedded in other aspects of the law particularly heartening:
When I made The Wild Blue Yonder I discovered an extraordinary cache of footage shot by NASA astronauts in outer space, and was told that because it was filmed by federal employees, the material was “property of the people.” I asked, “Can I, a Bavarian, be considered one of the people?” Such images, it turns out, according to American law belong to everyone on the planet. This is a unique and astounding attitude to the world. Naturally there are things in the United States I’m ambivalent about, just as there are when it comes to Germany. I could never be a flag-waving patriot. But there are many reasons why I have been in America for so many years. The country has always had a capacity to rejuvenate itself, pull itself out of defeat and look to the future. There has always been space there to create real change. I could never live in a country I didn’t love.
Herzog, indeed, holds a soft spot for NASA. “We thank NASA for its sense of poetry,” he says at the end of The Wild Blue Yonder, a line that reads like a eulogy itself as we bear witness to NASA’s tragic downward slide in government priorities today. In contemplating the necessary risks of the creative life, Herzog shares with Cronin his dream of joining NASA — a notion that seems so naturally resonant with his penchant for the lyricism of wanderlust:
I would never complain about how difficult it is to get images that belong to the recesses of the human heart, that show unexpected things we have never seen or experienced before, that are clear, pure and transparent. I would go absolutely anywhere; that’s my nature. Down here on Earth it’s hardly possible any more. I wouldn’t hesitate for a second if given the chance to venture out with a camera to another planet in our solar system, even if it were a one-way ticket. It’s frustrating to me that astronauts never take advantage of the photographic possibilities available to them. On one of the Apollo missions they left a camera on the moon, slowly panning from left to right, then right to left, for days. I yearned to grab the damned thing. There are so many possibilities up there for fresh images, and I always thought it would be better to send up a poet instead of an astronaut; I would be the first to volunteer. I did actually once seriously consider applying to NASA to be on one of their missions. Space travel is unfinished business for me, though these days I wouldn’t be allowed. You need a complete set of teeth to get inside a spaceship.
Werner Herzog: A Guide for the Perplexed is a magnificent read in its hefty totality. Sample Herzog’s life-tested wisdom further here and here, then complement this particular bit with Debbie Millman’s illustrated literary geography of America.
Published September 29, 2014