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PRODUCTION JOURNAL: Werner Herzog on Fitzcarraldo

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Fitzcarraldo is a 1982 film written and directed by Werner Herzog and starring Klaus Kinski as the title character. It portrays would-be rubber baron Brian Sweeney Fitzgerald, an Irishman known as Fitzcarraldo in Peru , who has to pull a steamship over a steep hill in order to access a rich rubber territory. The film is derived from the real-life story of Peruvian rubber baron Carlos Fitzcarrald . The story was inspired by the real life Peruvian rubber baron Carlos Fermín Fitzcarrald; in the 1890s, Fitzcarrald did bring a steamship across an isthmus from one river into another, but it weighed only 30 tons (rather than over 300), and was carried over in pieces to be reassembled at its destination. In his autobiographical film Portrait Werner Herzog , Herzog has stated that the film's spectacular production was partly inspired by the engineering feats of ancient standing stones . The film production was an incredible ordeal, and famously involved moving a 320-ton

SCRIPT TO SCREEN: Taxi Driver storyboards by Martin Scorcese

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Taxi Driver | Martin Scorcese | 1976 | USA | Format: 35mm | 113 min

PRODUCTION TIP: William Friedkin on the most important thing

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"The most important thing that I think the director does is choose his material .  That's the single most important thing you do.  In other words, how are you going to spend your time for the next whatever it is?  In my case, on The Exorcist, it was 2 years, which is excessive.  But generally, on a feature film these days, it's anywhere from 6 months to a year. So number one, it's what are you going to do? What do you want to do? That's the most important decision. " -- William Friedkin

CASE STUDY of ¡Libérate!, a public service announcement (PSA)

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¡Libérate! (Free yourself) is a "call to action" social marketing campaign using film and fashion and urging the community at large to let go of the heavy burdens that accompany homophobia.  Juntos Construyendo, a subset of the Latino Commission on AIDS, funded the production of the PSA.  Hector L. Torres III, my co-producer on the PSA, wanted to do something different from the typical PSA that bores its audience.  We came up with a simple but artistic idea for a PSA that treats homophobia as an affliction that affects the homophobic as much as the homosexual.  Hence, the need for both the homophobe and the homosexual to liberate themselves so that all people in the community can heal and grow.  Here's a teaser: The main production strategy was to shoot something artistic and ambiguous unlike your typical PSA.  To do so, our creative concept had to overcome a tiny budget, a small cast and crew and a short amount of time. Elements of the Strategy KNO