Klaus Kinski in Nosferatu the Vampyre (1978, dir. Werner Herzog)

Title: NOSFERATU (1978) ¥ Pers: KINSKI, KLAUS ¥ Year: 1978 ¥ Dir: HERZOG, WERNER ¥ Ref: NOS001AE ¥ Credit: [ GAUMONT / THE KOBAL COLLECTION ]

“Kinski loved the work and for pretty much the whole time on set he was happy, even though he would throw a tantrum maybe every other day. He was at ease with himself and the world at the time and loved to sit with his Japanese make-up artist Reiko Kruk for hours and hours. He would listen to Japanese music as she sculpted him every morning, putting his ears and fingernails on. We had to do the teeth and ears and shave his head every morning and just seeing him with this enormous patience was a fine sight. I would walk in and sit with him for fifteen minutes. We did not talk, we just looked at each other in the mirror and nodded at each other. He was good with the project, and he was good with himself.

Though the film is close to two hours and Klaus is on screen for maybe seventeen minutes, his vampire dominates absolutely every single scene. That is the finest compliment I can give him for his performance. Everything in the film works towards these seventeen minutes. His character is constantly present because of the story and the images which intensify this sense of doom and terror and anxiety. It took fifty years to find a vampire to rival the one [F.W.] Murnau created, and I say that no one in the next fifty years will be able to play Nosferatu like Kinski has done. This is not a prophecy, rather an absolute certitude. I could give you fifty years and a million dollars to find someone better than Kinski and you would fail.”

-Werner Herzog, quoted in Herzog on Herzog

Federico Fellini


The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all, that of a dream we dreamt with our eyes open, has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?


“Ning siiski tuleb veel kord rõhutada, et võideldes elu ja filmi loomuliku sarnasusega, lõhkudes vaataja naiivset usku, kes on valmis samastama kinoetendusest saadud emotsioone läbielatuga reaalseid sündmusi vaadates – kuni vulgaarse januni teravate tunnete järele päriselt toimuvate traagiliste vaatepiltide puhul –, võitleb kino samal ajal oma vaataja naiivse, olgugi lausa liignaiivse, usalduse säilitamise pärast filmi autentsusesse.”