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That shot in "into the inferno" somehow popped up while my editor and i were viewing the footage. i immediately said, "that looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." so it was a practical choice. at the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.
-Werner Herzog
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That Shot In "into The Inferno" Somehow

Werner Herzog
That shot in "into the inferno" somehow popped up while my editor and i were viewing the footage. i immediately said, "that looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." so it was a practical choice. at the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.
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Editors Choices Finding Yourself

More From Werner Herzog

I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. if you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. but if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
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There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. but if you don't have something deliberate made, you're not gonna save it in the editing room.
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Do you think it interests me that this painting represents two figures? these two figures existed, they exist no more. the sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. for me they are no longer two figures but shapes and colours, don't misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence.
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