Intern: Satznummer: aus: imd_185 Titel. Kurz/Spitzname: Wim aka: Vend su, Vimu Wim

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1 Intern: Satznummer: aus: imd_185 Titel Biographisches zu: Wim Wenders Kurz/Spitzname: Wim aka: Vend su, Vimu Wim Wirkl.Name: Wenders, Ernst Wilhelm Biograph.Hintergrund: Wim Wenders is an Oscar-nominated German filmmaker who was born Ernst Wilhelm Wenders on August 14, 1945 in Düsseldorf, which then was located in the British Occupation Zone of what became the Bundesrepublik Deutschland (Federal Republic of Germany, known colloquially as West Germany until reunification). At university, Wenders originally studied to become a physician before switching to philosophy before terminating his studies in Moving to Paris, he intended to become a painter. He fell in love with the cinema but failed to gain admission to the French national film school. He supported himself as an engraver while attending movie houses. Upon his return to West Germany in 1967, he was employed by United Artists at its Düsseldorf office before he was accepted by the University of Television and Film Munich school for its autumn 1967 semester, where he remained until While attending film school, he worked as a newspaper film critic. In addition to shorts, he made a feature film as part of his studies, _Summer in the City (1970)_ (qv). Wenders gained recognition as part of the German New Wave of the 1970s. Other directors that were part of the New German Cinema were 'Rainer Werner Fassbinder' (qv) and 'Werner Herzog (I)' (qv). His second feature, a film made from 'Peter Handke' (qv)'s novel _Die Angst des Tormanns beim Elfmeter (1972)_ (qv), brought him acclaim, as did _Alice in den Städten (1974)_ (qv) and _Im Lauf der Zeit (1976)_ (qv). It was his 1977 feature _Der amerikanische Freund (1977)_ (qv) ("The American Friend"), starring 'Dennis Hopper' (qv) as 'Patricia Highsmith' (qv)'s anti-hero Tom Ripley, that represented his international breakthrough. He was nominated for the Palme d'or at the 1977 Cannes Film Festival for "The American Friend", which was cited as Best Foreign Film by the National Board of Review in the United States. 'Francis Ford Coppola' (qv), as producer, gave Wenders the chance to direct in

2 America, but _Hammett (1982)_ (qv) (1982) was a critical and commercial failure. However, his American-made _Paris, Texas (1984)_ (qv) (1984) received critical hosannas, wining three awards at Cannes, including the Palme d'or, and Wenders won a BAFTA for best director. "Paris, Texas" was a prelude to his greatest success, 1987's _Der Himmel über Berlin (1987)_ (qv) ("Wings of Desire"), which he made back in Germany. The film brought him the best director award at Cannes and was a solid hit, even spawning an egregious Hollywood remake. Wenders followed it up with a critical and commercial flop in 1991, _Bis ans Ende der Welt (1991)_ (qv) ("Until the End of the World"), though _In weiter Ferne, so nah! (1993)_ (qv) won the Grand Prize of the Jury at Cannes. Still, is reputation as a feature film director never quite recovered in the United States after the bomb that was "Until the End of the World." Since the mid-1990s, Wenders has distinguished himself as a non-fiction filmmaker, directing several highly acclaimed documentaries, most notably _Buena Vista Social Club (1999)_ (qv) and _Pina (2011)_ (qv), both of which brought him Oscar nominations. Hintergrund von: Jon C. Hopwood Geburtsdaten: 14 August 1945, Düsseldorf, North Rhine-Westphalia, Germany Körpergröße: 6' 3" Familie/Ehepartner: 'Ronee Blakley' (qv) ( ) 'Edda Köchl' (qv) ( ) 'Donata Wenders' (qv) ( present) 'Isabelle Weingarten' (qv) ( ) 'Lisa Kreuzer' (qv) ( ) Gastauftritte: Book: "Emotions Pictures., Reflections on the Cinema" by Wim Wenders. Published by Faber and Faber on May 1, ISBN# Book: "The Logic of Images: Essays and Conversations" by Wim Wenders. Published by Faber and Faber on April 2, ISBN# Book: "The Act of Seeing: Essays and Conversations" by Wim Wenders. Published by Faber and Faber in August ISBN# X Book: "Einmal: Bilder und Geschichten" ("One Time: Pictures and Stories") A book of photographs by Wim Wenders. Published by Verlag Der Autoren in May ISBN# Directed music video for the 'EELS' "Souljacker, parti", set in Berlin. Commercial for Parisiennes cigarettes (book) Die Zeit mit Antonioni: Chronik eines Films. Farbphotos von Wim Wenders, Schwarzweissphotos von Donata Wenders. Frankfurt am Main: Verlag der Autoren, 1995.

3 ISBN directed TV commercials starring 'Peter Ustinov' (qv) and 'Verona Pooth' (qv) for the EXPO 2000 in Hannover (Germany) (2000). Book: "Nick's Film/Lightning Over Water," w/chris Sievernich : Commercial for Audi's new A3, entitled "The other Side of the Road" Book "My Time with Antonioni" (London, Faber & Faber, 2000) (2012) Print advertising for Loewe 3D Home Cinema Systems - Promotor (1970) Co-founder with 14 other filmmakers of Filmverlag Der Aotoren to produce and distribute their films. Monographie über: Robert Phillip Kolker and Peter Beicken (contributor). _The Films of Wim Wenders: Cinema As Vision and Desire._ Cambridge University Press, ISBN Roger F. Cook and Gerd Gemunden. _The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition._ Detriot: Wayne State University Press, ISBN Aussprüche: Sex and violence was never really my cup of tea., I was always more into sax and violins. Hollywood filmmaking has become more and more about power and control. It's really not about telling stories. That's just a pretense. But ironically, the fundamental difference between making films in Europe versus America is in how the screenplay is dealt with. From my experiences in Germany and France, the script is something that is constantly scrutinized by the film made from it. Americans are far more practical. For them, the screenplay is a blueprint and it must be adhered to rigidly in fear of the whole house falling down. In a sense, all of the creative energy goes into the screenplay so one could say that the film already exists before the film even begins shooting. You lose spontaneity. But in Germany and France, I think that filmmaking is regarded as an adventure in itself. Originality now is rare in the cinema and it isn't worth striving for because most work that does this is egocentric and pretentious. What is most enjoyable about the cinema is simply working with a language that is classical in the sense that the image is understood by everyone. I'm not at all interested in innovating film language, making it more aesthetic. I love film history, and you're better off learning from those who proceeded you. I will always produce my own films and avoid finding myself at the distributor's mercy. You must become a producer if you want any control over the fate of your work. Otherwise, it becomes another person's film and he does with it what he pleases. I only had one experience like that and I will never repeat it. I've turned from an imagemaker into a storyteller. Only a story can give meaning

4 and a moral to an image. In the beginning I just wanted to make movies, but with the passage of time the journey itself was no longer the goal, but what you find at the end. Now, I make films to discover something I didn't know, very much like a detective. It is very hard to stay inside the boundaries of a genre film., I admire people that are able to do that. I just don't have the discipline. What I like about genres is that you can play with expectations and that there are certain rules that you can either obey or work against. But genres are a funny thing. They're heaven and they're hell. They help you to channel your ideas and they are helpful to guide the audience, but they don't help you in what you want to transport other than the genre itself. Genres get angry if you want to tell other stories -- because they are sort of self-sufficient. They like to be the foreground. [on whether he will continue to film in 3-D] I will not do anything else. I'm completely hooked. I think 3-D is a still unexplored cinematographic story. In my books, it's the ideal medium for the documentary of the future. It's not invented to show us different planets. It's invented to show us our own planet. [on employing 3-D to film the choreography of Pina Bausch] The body is such an important thing in [her] work, and it is fiction on the regular screen. In 3-D, the body has volume. The body is an instrument to discover and conquer space. Everybody thinks that depth is the great thing about 3-D. But in my book, volume is the great thing. [on the subject of his Oscar-nominated documentary] Pina was a perfectionist in a different way. She wanted each dancer to be completely himself or herself. She didn't want them to play any parts. That was an amazing process to see. To see them do it, not fake it. I believe very much in overseeable budgets. I really believe in films where the money allows freer expression but the budget isn't that big that people are breathing down your neck all the time and looking at what you're doing. The movies that I really enjoy throughout the whole history of Hollywood were never the big pictures., they were the underbelly. In a nutshell, _Hammett (1982)_ (qv) was shot twice. The first film was shot entirely on location in San Francisco only. Not a single second in the studio, everything on location in real places in San Francisco. The studio didn't like it. There wasn't too much action, too much time was dedicated to Hammett the writer and not enough to Hammett the detective. He became a writer out of necessity because he became sick and couldn't work as a detective anymore. He decided to write about his experiences and in that idea "Hammett" was based. So my first shoot was strictly set in San Francisco and really based on the actual character of Hammett. The studio didn't like it, they thought it was too slow and they wanted more of the

5 fantasy and the detective. In the final product ten shots survived from my original shoot: only exteriors. Because there wasn't much money left, and I was too stubborn to drop it and or say, "Well then let somebody else do it." 'Francis Ford Coppola' (qv) was too stubborn to fire me so we stuck it out and we respected each other in spite of all the conflicts. So I ended up shooting the second version as well. That was entirely in one sound stage. The whole [first] shoot never saw the light of day, except for a couple of shots from the first, maybe 5% of the film from the first version. (...) [The first version] was destroyed. It doesn't exist now. They only kept a cut negative, everything else is junked. Which I found out really late and I don't know who was to blame. I don't know. Anyway, I was very disappointed. At one point I suggested to Zoetrope that I could finish [that version] and wouldn't it be an interesting case study to present the two films? They said, "Oh yeah, that's interesting, let's find out," and then eventually the guy who was responsible for this did the whole inventory and said, "I'm sorry we couldn't find your film."[2015] I think the artistic process is one of the great adventures left in our modern times. There are very few adventures left to be done by traveling anywhere because everyone has already been everywhere, but creation is still a great adventure. Films can heal! Not the world, of course, but our vision of it, and that's already enough. [on what did he learn from Sebastião Salgado] There's no one concrete thing that I learned from him, but still there were a number of enormous lessons. To be so radical, and once you've made a realization, draw your conclusions and then change your life, that was something amazing. This man had a great career as an economist ahead of him, and then realized he had a gift for photography and completely changed his life and started from scratch. I don't think many people do that today. And then 30 years later, he gave up that photo Typisches: Glasses with thick, dark rims. On-the-road location filming Triviales: President of the European Film Academy Donated his $5,000 Cannes prize for "Wings of Desire" (_Der Himmel über Berlin (1987)_ (qv)) to Canadian filmmaker 'Atom Egoyan' (qv). President of the jury at the Cannes Film Festival in 1989 He worked with all of his wives on at least one movie: With 'Edda Köchl' (qv): _Alice in den Städten (1974)_ (qv), _Summer in the City (1970)_ (qv) and _Die Angst des Tormanns beim Elfmeter (1972)_ (qv)., with 'Lisa Kreuzer' (qv): _Alice in den Städten (1974)_ (qv), _Der amerikanische Freund (1977)_ (qv), _Falsche Bewegung

6 (1975)_ (qv) and _Im Lauf der Zeit (1976)_ (qv)., with 'Isabelle Weingarten' (qv): _Der Stand der Dinge (1982)_ (qv)., with 'Ronee Blakley' (qv): _I played It for You (1984)_ (qv), _I played It for You (1984)_ (qv) and _Lightning Over Water (1980)_ (qv) and with 'Donata Wenders' (qv): _Al di là delle nuvole (1995)_ (qv), _Arisha, der Bär und der steinerne Ring (1992)_ (qv), _Buena Vista Social Club (1999)_ (qv), _The End of Violence (1997)_ (qv), _Lisbon Story (1994)_ (qv), _Land of Plenty (2004)_ (qv) and _The Million Dollar Hotel (2000)_ (qv). After studying medicine and philosophy in Munich, Freiburg and Düsseldorf, he joined the Munich Academy for Television and Film in Considers 'Yasujirô Ozu' (qv) his all time grandmaster. Many of his films are indebted to 'Nicholas Ray (I)' (qv), which is proved by the expressionistic use of color in _Der amerikanische Freund (1977)_ (qv) or the title of _Bis ans Ende der Welt (1991)_ (qv) (Until The End of The World), the last spoken words in Ray's _King of Kings (1961)_ (qv). _Im Lauf der Zeit (1976)_ (qv) also lovingly lifts a scene from Ray's _The Lusty Men (1952)_ (qv). His movie _Lightning Over Water (1980)_ (qv) is a documentary about 'Nicholas Ray (I)' (qv)'s last days. He is infertile since an illness in childhood He closed Belgrade Film Festival - FEST President of the Jury at the Venice Film Festival in He openly argued with the festival's artistic director over the rules for the final verdict and disliked the experience so much, he vowed never to be part of a film festival jury again. Uncle of 'Hella Wenders' (qv). Attended Munich's Academy of Film and Television from 1967 to Wender's Gray City, Inc. Manhattan office overlooks 11 East 14th Street, the site of D. W. Griffith's American Biograph studio, whose brownstone has been replaced by a white condominium. An avid backgammon player. Hinweise: (qv)=quod vide=siehe dort. Ist die Biographie abrupt, s. den 2.Teil im Index 2 als [_biographie teil 2]. Personen Inhalt Produktion Verwertung

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