Pretty incredible that Werner Herzog found not one but two perfect musical collaborators over the course of his career. Early Herzog owes so much to Popol Vuh, just as late Herzog is kind of unimaginable without Ernst Reijseger.
Just kind of running with this thought, it occurs to me that, even though music/opera is Herzog's other great passion, the films he's devoted to the subject are mostly unremarkable – save for FITZCARRALDO, which is literally about the maddening inability to stage music.
LAST WORDS: unassured ethnography
JAG MANDIR: bit of a slog
GESUALDO: intriguing failure
THE TRANSFORMATION OF THE WORLD INTO MUSIC: straightforward Bayreuth portrait
LA BOHÈME: yikes?
ODE TO THE DAWN OF MAN: not all that insightful
THE KILLERS: UNSTAGED: anonymous concert film
I can't remember who said it, but the OCARINA OF TIME remake announcement proves it right yet again: tough luck if you want to see big money going into new, original media – you're stuck in a 1980–2000 nostalgia prison for the time being.
ALT Letterboxd diary:
The Sheep Detectives – 2 stars
War at a Distance – 4 stars
Prison Images – 4 stars
Jurassic Park III – 3 stars
Masters of the Universe – 1 star
Favourite first-time watches in January:
Midnight (39)
Ten Skies (04)
Pickpocket (59)
To Each His Own (46)
3 Bad Men (26)
The Circle (00)
Marty Supreme (25)
The White Balloon (95)
The Man from London (07)
The Fugitive (47)
The Trial of Joan of Arc (62)
Eephus (24)
Favourite first-time watches in May:
Paper Trail (2026)
Chimes at Midnight (1965)
Creature from the Black Lagoon (1954)
Renoir (2025)
Bitter Christmas (2026)
Bring It on (2000)
Sleepover (2004)
Legally Blonde (2001)
If we confuse generative AI’s ability to produce text with consciousness, we risk assigning moral responsibility to chatbots—and not to their makers, Ted Chiang argues. theatlantic.com/philosophy/2…