The boys reconvene to have a natter about Quentin’s Inglourious Basterds and about Quentin in general. They move on to puzzle over Inception, try to praise Avatar and save Bryan Singer before working on the casting of a Susan Boyle biopic. There some discomfort about the racism in Trading Places, a short consideration of the psyche of Mike Tyson and a celebration of John Barrowman’s line readings.

The Movie Overdose #31 – Inglourious Basterds

Here is John Barrowman in Shark Attack 3, as discussed by our very own John.

Roger Ebert!

“I lost faith in the Oscars the first year I was a movie critic–the year that Bonnie And Clyde didn’t win.”

-Roger Ebert, 20 questions with Playboy.

He’s not Pauline Kael, but you know what, he doesn’t need to be. Film review is a tricky patch of dangerous woods to get lost in. Nobody is going to share your thoughts and feelings on a film more than you are, with your own voice, so your best best is to find someone close. For me, there’s probably four or five reviewers I always check for a movie, sometimes just because I want to dip into the quality of their words and their opinions, and while the critics on that list shift from time to time, Ebert is always on there. I’d say that he and I agree something like 93% of the time on a movie, and that’s even better than you can get from your friends sometimes.

Roger Ebert and his wife, Chaz.

For example, I just got a text from a friend telling me how good Transformers 2 was and have I seen Knowing yet because they thought the trailer looked really, really, really, really, really, really cool.

Unrelated, email me if you want to be my friend. Please be interesting and not sucky. And have good taste in movies?

I grew up on Siskel and Ebert at the Movies and their simple thumbs up/thumbs down. Too simplistic a criterion sometimes, sure, but the there were two things I absolutely loved about their show: It was for the regular people and the reviews were based around having a modicum of intelligence. Were you Joe Average movie goer who wanted to know if a movie was good or not? Great, they could tell you. Were you a snarky pretentious film major who wanted to talk about metaphors and eros being sick and the shapes of regrets in the shadows and the male gaze? That’s cool, but you could slum it nicely with Siskel and Ebert.

Another thing I loved about those guys that I didn’t realize to much, much later was the fact that they probably hated each other:

Sometimes the bigger the asshole you are, the more authoritative you seem. In that regard, Gene was like us and Roger was a prick. Catholic and Jew. Good cop and bad cop. Holmes and Watson? Close, but no. Together, they were Tango and Cash, even though one looked like a car salesman and the other looked like an old school lesbian.

Remember when they guest starred on Jon Lovitz’ horrendously underrated The Critic back in the 90s?

Ha ha, Brilliant!

“Dammit, Gene, I’m not Roger! I’m never gonna be Roger! I wish I were!”

Ah… RIP Siskel.

RIP sleazy porn mustache:

Also, Roeper fucking sucks. Seriously.

Some of my favorite bits of Ebert:

- Dated Oprah way back when. Credited with suggesting to her that perhaps she should go national? And then she became one of the most powerful entities in the universe.

-His favorite actor is Robert Mitchum and his favorite actress is Ingrid Bergman.

-He actually went to the other side of the biz and co-wrote three films!

And they were wonderfully horrible: Russ Meyer’s Beyond The Valley Of The Dolls, Beneath The Valley Of The Ultra-Vixens, and Up!

Russ Meyer and Roger Ebert, OG film people, in 1970.

And no, not this Up:

Though that does look like a crotchety old version of Ebert, right?

-By the way, that quote referenced in Austin Powers: “It’s my happening and it freaks me out!” is from Beyond The Valley Of The Dolls.

-He’s written more than 15 books (some just collections of his reviews) and his column is syndicated to over 200 newspapers. And in 1975, he became the first film critic to ever win the Pulitzer Prize for Criticism.

-In 2007 Forbes magazine named him “the most powerful pundit in America,” taking a lovely shit on even bigger windbags like Lou Dobbs and Bill O’Reilly.

-He has his own film festival! And it’s charmingly called Ebertfest.

-I’m so jealous of that last bit (though, to be fair, even no talent hacks like Harry Knowles have their film fests so really, it’s no big deal, I know) that in a few months I’ll be hosting my own film fest: Marco Sparks Beyond Thunderdome! Email me for details.

-In 2005, Rob Schneider criticized a Los Angeles Times reviewer for giving an unfavorable review to Deuce Bigalow: European Gigolo, and said that the reviewer was unfit to comment upon the film because he didn’t have a Pulitzer. Ebert then stepped in and said that since he did have a Pulitzer, he was qualified enough to say to Schneider: “Your movie sucks.”

-They later mended fences as human beings when Ebert had some health problems.

-He’s a big public supporter of Werner Herzog, even as Herzog’s popularity has waned. In a move of special thanks, Herzog dedicated his 2008 film Encounters At The End Of The World to Ebert.

-Back in 2004, while guesting on Howard Stern’s show, he predicted that the then-junior senator from Illinois, a guy named Barack Obama, would be very important to the future of this country.

-in 2002 Ebert was diagnosed with thyroid cancer and has had a slew of health problems relating from that, including having a part of his jaw removed, causing him to lose his ability to speak (but not the ability to write, so suck it, Clive Barker). This is hardly one of my Ebert greatest hits, but I love that he not only has one of those computerized voice systems (think: Stephen Hawking) but that for a long time, he programmed it to speak for him in a British accent and he named it Lawrence.

-Oh, and let’s not forget that he sometimes chills with party animals like the eternally classic Peter O’Toole and the forever skeezy Jason Patric:

And then, of course, there’s always…

The Brown Bunny.

Yes, the Vincent Gallo movie. My personal take on it: This is a really bad movie, almost unwatchable. But if you do watch it, you can kind of – if you squint and are hopeful – see what Gallo was going for, and see that he has a filmmaker’s soul somewhere within (though he may have snorted it off of someone’s asshole). Sadly, you can also see his dick.

But back in 2003, Ebert saw the movie at Cannes and said that it wasn’t just bad, it was the worst film in the entire history of the Cannes film festival. Upset by that, Gallo then cursed Ebert health, and put a hex on him, wishing that he got colon cancer.

Ebert, in response: “I had a colonoscopy once, and they let me watch it on TV. It was more entertaining than The Brown Bunny.”

Gallo then, in response to that, took the high road and mocked Ebert’s obesity, saying that he has the physique of “a slave-trader,” to which Ebert came back with: “It is true that I am fat, but one day I will be thin, and he will still be the director of The Brown Bunny.“

They’ve since worked out their differences and have probably even hugged a few times.

The best of Ebert’s reviews for films that recieved zero stars:

- “This movie doesn’t scrape the bottom of the barrel. This movie isn’t the bottom of the barrel. This movie isn’t below the bottom of the barrel. This movie doesn’t deserve to be mentioned in the same sentence with barrels.”

from the review of Freddy Got Fingered.

- “Caligula is sickening, utterly worthless, shameful trash. If it is not the worst film I have ever seen, that makes it all the more shameful: People with talent allowed themselves to participate in this travesty. Disgusted and unspeakably depressed, I walked out of the film after two hours of its 170-minute length. That was on Saturday night, as a line of hundreds of people stretched down Lincoln Ave., waiting to pay $7.50 apiece to become eyewitnesses to shame…’This movie,’ said the lady in front of me at the drinking fountain, ‘is the worst piece of shit I have ever seen.’”

from the review of Caligula.

- “Deuce Bigalow is aggressively bad, as if it wants to cause suffering to the audience. The best thing about it is that it runs for only 75 minutes. … Does this sound like a movie you want to see? It sounds to me like a movie that Columbia Pictures and the film’s producers … should be discussing in long, sad conversations with their inner child.”

from the review of Deuce Bigalow: European Gigolo.

- “I like good horror movies. They can exorcise our demons. The Texas Chainsaw Massacre doesn’t want to exorcise anything. It wants to tramp crap through our imaginations and wipe its feet on our dreams. I think of filmgoers on a date, seeing this movie and then — what? I guess they’ll have to laugh at it, irony being a fashionable response to the experience of being had. … Do yourself a favor. There are a lot of good movies playing right now that can make you feel a little happier, smarter, sexier, funnier, more excited — or more scared, if that’s what you want. This is not one of them. Don’t let it kill 98 minutes of your life.”

from the review of the 2003 remake of The Texas Chainsaw Massacre.

- “Dirty Love wasn’t written and directed, it was committed. Here is a film so pitiful, it doesn’t rise to the level of badness. It is hopelessly incompetent… I am not certain that anyone involved has ever seen a movie, or knows what one is.”

from the review of Dirty Love. And last, but not least…

- “I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it.”

from the now infamous review of North.

I’m glad Roger Ebert’s still with us, I really am. And more importantly, I’m glad he hasn’t stopped doing what he does best: going to the movies and reporting back to you what he’s found there. He’s treated the public like a friend and shared wonders and horrors with them. He’s the reviewer for everyone. He can talk to you, he can talk to the people smarter than you, and he’s not too scary for the people who are dumber. And he’s waiting there in the dark for the projector to start.

Another series has been put into the history books.  And now is the moment you have been waiting for.  The jury has been in deliberations for hours upon hours losing sleep and even found some time to go to the local cinema and find good ol’ Cagney John.  That is the person whom we saw, not the movie.  The movie will reveal itself in a couple of minutes.  And by the way, the human head weighs 8 pounds.  I’m just throwing that out there for you.

What Just Happened?

Fred Simmons: 4/5

Doc Gibbs: 3/5

Annie Hall

Fred Simmons: 5/5

Doc Gibbs: 4/5

Encounters at the End of the World

Fred Simmons: 3/5

Doc Gibbs: 3.5/5

and a special edition for all you loyal readers……….

Up [2009]

Fred Simmons: 5/5

Doc Gibbs: 4.5/5

THE AWARDS

Best Actor:

Fred Simmons: Woody Allen in Annie Hall

Doc Gibbs: Woody Allen in Annie Hall

Best Actress:

Fred Simmons: Diane Keaton in Annie Hall

Doc Gibbs: Diane Keaton in Annie Hall

Best Supporting:

Fred Simmons: Bruce Willis in What Just Happened?

Doc Gibbs: Bruce Willis in What Just Happened?

Best Film:

Fred Simmons: Annie Hall

Doc Gibbs: Up

Honorary Award:

Fred Simmons: Best Opening Scene in an Animated Film: Up

Doc Gibbs: Perfect Nap Movie: What Just Happened?

Relaxing with a melody

The end of my placement gets closer and closer to its conclusion.  Summer is only moments away…

Me & Shauna are still pretty flat out with work at the moment, and probably right through till we finish work next week.  Its not that im complaining;  it makes the time fly through.  There are parts of the work though that I really dont understand fully and so I end up feeling slightly out of my depth.  Was meant to go swimming on my lunch break today and just decided that I really couldnt be assed.  Me thinks im starting to get a bit lazy…

Me and Conall went to the QFT to see Encounters At The End Of The World this evening.  I cant remember the last time I enjoyed a film so little!  I felt myself slowly drifting off to sleep numerous times throughout the course of the film.  Felt like the director took a camera and decided to film a day in the life of what he did on the South Pole (or possibly north, I was really bored!) and ask really uninteresting questions.  The only good part was when he mocked the subjects he was documenting.  And even then, he wasnt that funny!

BT are sponsoring the QFT atm and get BT Staff get £3.00 admission to any film.  Woo Hoo!  As well as that, they have a wall in the foyer with a lot of hangers and in the corner are blank, hole punched “coasters” where it asks you a question and you then draw or write your answer, and then hang it on the wall:

I loved the idea and naturally hung mine up too.  I got asked the question “Best Film Quote”,

to which I replied…

That is the question we hope to find the answer to in this upcoming series.  And it is our civil duty to do just that.  The next installment will include three films of extreme variations and what a treat it is going to be.  The featured titles are as follows: Encounters at the End of the World [2007], What Just Happened [2008], and Annie Hall [1977].  The series spans three decades.  All of this should take place this weekend and early next week, Netflix permitting.  We could something.  Yeah, something terrible.  You might find this poster lacking but look closely, in Robert’s right eye [your left], you will find a picture from Encounters.  And in Robert’s left eye [your right], you will find a screenshot of Annie Hall.  Make it work just as I did.  Regretably there is no Cinemania references this week but it is never too late to change that.  We will keep you posted on any changes or SPECIAL EDITIONS, so get to the show early as to avoid any confrontation.  It won’t be our fault if you get angrily pushed to the ground and nobody helps you as you lay there on the ground whincing in pain while we cinephiles finish our film.  We will even kick your chair.  Yeah, well maybe you should get to the show earlier.  Then none of this would’ve happened.  And I am not afraid to take the food out of your hands, and mouth if necessary, and dispose of it.  I don’t want to hear that.  And that is your Cinemania reference for this edition.  I’m telepathic by the way.

Harlan Ellison

by Noel Murray

   Writer Harlan Ellison’s abundant, almost excessive passion for life and art can make him an absolute delight one moment and a holy terror the next. If Ellison likes a young writer’s work, he’ll advocate for it ferociously, willing to elevate an unknown to his own level. But if that same writer later offends him—intentionally or not—Ellison has been known to turn like month-old milk. Ellison has brawled—sometimes literally—with critics, fans, and Hollywood producers, and he’s penned fiction, non-fiction, and teleplays that combine the erudite and the vulgar in a way that his pal Robin Williams describes as “Borsht and Berkeley.” Another pal, Neil Gaiman, calls Ellison’s eclectic, often controversial career “a huge piece of performance art.”

   Erik Nelson’s documentary Dreams With Sharp Teeth: A Film About Harlan Ellison is an idea that’s long overdue: a career-spanning conversation with Ellison peppered with clips from TV interviews and public appearances. Nelson’s been working on the film for over 25 years, beginning as a student in 1981, when he videotaped Ellison for a PBS documentary. But the majority of Dreams With Sharp Teeth was shot over the past few years, and catches Ellison snapping at bad drivers in Los Angeles traffic, walking around a movie set with a fake udder attached to his neck, and roaming his hillside mini-mansion, with its secret passages, heaps of memorabilia, and shelves full of manual typewriters. More than maybe any other living writer, Ellison seems to enjoy his job and the sound of his own words—although he’s sometimes had difficulty finishing what he starts, and his diffuse focus seems to have prevented him from producing novels as artful and impactful as his short stories.

   As an Ellison fan, Nelson does his subject some small disservices, mainly by failing to offer a broad enough perspective on the man’s work or his personal vendettas. No one from the anti-Ellison camp gets any camera time, and when Ellison’s friends talk about his shortcomings, they do so lovingly. But then again, Ellison himself seems to know his strengths and weaknesses well. He goes from boasting about his mercenary instincts—”I sell my soul, but at the highest rates”—to admitting that he still feels the sting of being laughed at and picked on as a child. All told, Ellison is a fascinating person to spend 96 minutes with. But you probably shouldn’t risk that 97th.

Harlan Ellison’s writing credits include TV series like Voyage to the Bottom of the Sea, Star Trek (City on the Edge of Forever), The Man from Uncle, Twilight Zone, Outer Limits and many more. Certainly worth researching his name at IMDB.com

Erik Nelson (Grizzly Man, Encounters at the End of the World, The U.S. vs. John Lennon) is the Director, Writer and Producer

Credited Cast:

Harlan Ellison

Robin Williams

Neil Gaiman

Peter David

Ronald D. Moore

Josh Olson

Tom Snyder

 Get “Dreams with Sharp Teeth” on DVD

..more like this at GoreMaster.com!

The documentaries of Werner Herzog are good, but they could be great. I admire his philosophical position and his work – though am often respectfully suspicious of its veracity. He can work almost found footage with tremendous aesthetic and metaphorical flair. But he could invest pictures like Encounters at the End of the World with more unambiguous substance, execute with greater elegance, and offer a more universal or accessible experience.

It seems reasonably well known and self-acknowledged that Herzog often places more truth content in his fictional works than the documentary pieces. He probably stages and creatively reconstructs his encounters with people (come on, were the polar researchers really watching that apocalyptic b-movie with the cameraman in front of the screen?). His distrust of specious philosophical claims is palpable, and his acute awareness of what is wrong with people’s positions leads him to criticize (rather than give precious time to) those who fall foul, and eulogize those who embody the ideal. There are those who find all of this abrasive, such as Peter Geyer, who revealed (in conversation at EIFF 2008) some frustration with Herzog’s liberal disregard for factual accuracy and implicit duplicity. I, for one, find it playful yet maddening by turns.

The director travels with his cinematographer, Peter Zeitlinger, to explore the landscapes of Antarctica and the dreams of her inhabitants. Some of those at the McMurdo outpost are simply scientists (whose poetic aspirations come into accidental question, thanks to the persistent irreverence of Herzog’s skeptical lens; whose investigative endeavours are, to Herzog, cruel, unlike the violent minutiae of the natural world). Some of them are adventurers (or reified, disembodied raconteurs). All are framed as the explorers who have fallen off the edge of the world, found at its most remote part, the shores of Antarctica.

But praise is reserved for and visually heaped specifically upon those who seem denatured by their encounters – the diver retiring from his submarine cathedral, the zoologist who no longer has the skills or taste for human interaction, the volcanologist incanting over the magma of Erebus. The philosopher whose words seemed spurious in the opening act (perhaps a trick of translation? Like Herzog, I suspect his meaning is profound but its expression succumbs to the noise of a non-native language, losing its elegance) returns at the resolution to make a claim about mankind – the eyes, ears, consciousness of the universe, uniquely placed to reflect on (genuflect to?) its magnificence. This is part two of Herzog’s thesis. Part one is that men die and man is dying out. He pictures the former as a beautiful truth, the latter as unremarkable.

Herzog is not so much duplicitous as inaccessible. He is best taken as a German without a sense of humour – he never ridicules his subject. He occupies an unusual and important space which lies between all perceived divides – playing with and exposing ‘whatever singularity’, interrogating the state of exception. His distaste for people is not universal – he loves them in their humbled, dissociative reverence, as the consciousness of that majesty, the dreamers of the long-view on human insignificance (an unfortunate event which will take out a lot of beauty with it), geological intransigence and organic transcendence. Some men, like the little penguin (who is not funny! I sometimes wish the line between comedy and tragedy were more clearly expressed to a crowd after entertainment), will run off to the mountains, to starve alone, for no good reason, but without insanity. In fact, they are all too rational: like the penguin, like Buridan’s ass, they succumb to the indeterminacy of the good. These are the dreamers who stalk the terrible vistas of geology, swarms of organisms – like aliens, in a world that totally alienates men.

Herzog seems obsessed with the gray space between nihilism and perceived transcendent experience, and those who swim in it. The Gregorian chant in the cloisters under the ice sky, teeming with alien life, but barren in form; the bucket-headed men, vulnerable, fail their survival test; the ravening penguin runs for the hills; the Don stands by the exposed magma that seethes beneath the earth, Kurtz’s snail on the edge of a straight razor. These images were collected and presented excellently, and will hopefully haunt my dreams far into the future. So it’s a shame he hasn’t tightened up this film a little more. Cut out some of his narrative pretense, let the images and actions speak. And focused on the more exceptional visuals.

In an interview, Mark Kermode presented Herzog with a paradox: if the essence of nature consists in “chaos, murder and hostility”, is the beauty his work finds in the natural world ex nihilo? And the reply he spat could not have been more portentous and affected: ”I stem the tide.” I feel a kindred spirit.

Encounters at the End of the World, Dir. & Writ. Werner Herzog, Prod. Henry Kaiser, Discovery, USA, 2007

There will almost certainly be more from me about this particular film but, having seen Herzog’s new documentary Encounters at the End of The World (2008) I am, again, floored not only by Herzog’s intelligence but also his incredible gift for self-parody.

With films like Aguirre, the Wrath of God (1972) and Fitzcarraldo (1982), Herzog forged a reputation for himself as a director whose mode of operation mirrors his choice of subject matter.  Herzog’s films frequently deal with men of singular vision who try to force the imprint of their dreams upon a world that is at best indifferent to human suffering and, at worst, activiely participant in it.   In order to make such films, Herzog repeatedly took his crew into the jungles of South America where they endured astonishing hardships and attacks by local indians.  This has earned Herzog a reputation similar to that of his potagonists; he is a man who stands on the edge of the world but who cannot help but look down and think about jumping.

Herzog seems incredibly aware of his own reputation and actively plays up to it.  In his documentary My Best Fiend (1999) about long-time collaborator Klaus Kinski, Herzog mentions that the insults levelled at Herzog by Kinski in the actor’s autobiography were in fact partly written by Herzog himself.

The Herzog Penguin

Encounters At The End of the World is a film that also plays up to Herzog’s reputation as some kind of cinematic Zarathustra.  It includes not only a fantastically funny bit about penguins who go mad and leave their colony in order to walk off into the wilderness, but also a fantastic opening comment and picture that I felt compelled to share with you before writing about the film in any detail :

“The National Science Foundation had invited me to Antarctica even though I left no doubt that I would not come up with another film about penguins.

My questions about nature – I let them know – were different :

I told them that I kept wondering why is it that human beings put on masks or feathers to conceal their identity.

And why do they saddle horses and feel the urge to chase the bad guy?

And why is it that certain species of ants keep flocks of plant lice as slaves to milk them for droplets of sugar?

I asked them, why is it that a sophisticated animal like a chimp does not utilise inferior creatures?  He could straddle a goat and ride off into the sunset.”

Werner Herzog’s Encounters at the End of the World is now showing at the IFI.

The first thing that struck me, settling into Werner Herzog’s Antarctic documentary, Encounters at the End of the World, was how much he sounds like McBain.

McBain from The Simpsons.

Seriously.

That’s how severely my cultural knowledge has been raped and abused by The Simpsons, that I can’t sit down and watch a serious documentary about Antarctica without hearing a German narrator say “We flew into the unknown; a seemingly endless void. I was surprised that I was even on this plane. Now let’s get silly.”

Fortunately though, before long it became obvious that this wasn’t a deadly serious doco, and it turned out to be littered with Herzog’s quirky take on a completely unique location and the people who inhabit it.

Primarily, the film is about the people who live and work in Antarctica. The scientists, the engineers, the biologists – and the rest. Herzog conducted very frank interviews with a range of those people, avoiding talk of “what’s it like to live here”, focusing more on their life outside of the continent, and what led them there. Quickly we are shown that those privileged few all tend to have certain things in common.

One described the scenario as a kind of natural selection in which certain people “jump off the map” and meet “where all the lines of the map converge.” Another said, similarly, “if you take everybody who’s not tied down, they all sort of fall down to the bottom of the planet… We’re all at loose ends, and here we are together.”

That first man was introduced as being a forklift driver and philosopher. Although at first amusing, Herzog’s film does a lot to make you think which of those attributes is more necessary for life at the bottom of the world.

All of the people interviewed on film have their own take on what it is to be there – not so much how, but why. And, as Herzog says, they each have their own stories to tell. And so he attempts to introduce us to a few of them.

The film is led at every turn by Herzog’s commanding voice. When he isn’t piling on the hyperbole about the scale of the place, or the end-of-the-world cliché, he is making sarcastic remarks – about the base itself (“which includes such abominations as an aerobics centre and a gym…”) – or speaking over some of his subjects (“to make a complicated story short…”).

Herzog also utilises lingering, tight shots on faces at the end of his interviews, which tend to reveal the true character of some of those he speaks to. There is a wonderful sequence with a plumber who has Aztec roots, who seems only to want to draw attention to his oddly proportioned fingers and how this ties into the Aztec royal family. Only with these lingering, open-ended shots is Herzog able to extract such gems.

When he isn’t talking though, several shots just take in the scenery, for example exploring caves, or the alien landscape in the water under the ice. Here, loud, intense choral and orchestral music is used, which, at times, feels slightly over the top, to the point of being comical, whilst other times the combination of staggering footage and overpowering music combines to instil a sense of wonder.

Overall, the film is a much more light-hearted and easygoing documentary than I had expected, and is all the better for it. Despite certain shots feeling rather too long, and occasionally falling off the rails with the narrative (a long introduction posed hypothetical questions which were never alluded to later), Herzog’s film is a treat.

You could argue that, due to the bizarre nature of Antarctic bases and those who work there, it wouldn’t be too hard to simply point a camera at a few of these people and come away with enlightening, interesting footage. But Herzog’s skill lies in throwing curveballs and taking a slightly different approach every time, picking up on subtleties that would escape a lesser filmmaker.

It is his quirky nature, and his desire to ask questions which are sometimes unexpected or perhaps even inappropriate, that combine to create the sweetest and most magical moments in the film.

Encounters at the End of the World is a film first and foremost about people – unique people, and what it is that drives them to do what they do.

Encounters at the End of the World is currently showing at the Cornerhouse. Click here for details.

Paul Capewell

Herzog has a new film, Encounters at the End of the World, which takes as its subject matter the scientists and explorers who inhabit McMurdo Station in Antarctica.

Looking forward to this one, as apparently it is partly a continuation of his amazing 2005 film Wild Blue Yonder. Playing at Chapter at the end of May. Also not sure what a penguin death march entails. I’m sure it’s something cute and fluffy. Anyway, here is some linkage…

Mark Kermode interviewing Herzog

John Patterson interviewing Herzog

A bunch of photos