Opening Conversation: Werner Herzog | DOC CONFERENCE | TIFF 2018

[Music] good morning everyone and welcome to the 10th annual TIFF doc conference we are now in day six of the 43rd Toronto International Film Festival and so happy to see you here the tip-top conference is a day-long event that is part of the tips industry conference we hope that you've been able to check out some of the other programming my name is Darrell teleph I'm the co programmer of the conference and also a programming associate here at TIFF and I also work at Hot Docs where I produced the hot dogs forum a two-day market and financing event that I hope you will all check out to begin we would like to acknowledge that today's events are taking place on treaty territory of the Mississauga's of the new credit and the traditional territory of the Haudenosaunee the Huron when dad and the ANA schnappi we are grateful to have the opportunity to work in the community I would also like to acknowledge our sponsors and supporters who make everything tipped as possible or elite sponsor Belle our major sponsors are BC L'Oreal Paris and Visa and our major industry sponsors Ontario crates and telefilm Canada the tip-top conference is made possible through the generous support of Showtime networks please note that there's absolutely no photography or recording during the tip-top conference however we are alive streaming to YouTube and on our channel at the tip dog conference we seek talks that make news stir conversations and point to new directions for both the creative and business side of documentary past speakers include Asif Kapadia Raoul Peck Errol Morris Alain ISA BOM suin Ramin Bahrani Shola Lynch Andrew Jarecki Sarah Polley Naomi Klein Michael Moore Jonathan Demi Steve James Denis Cote just to name a few this year's slate includes dynamic maverick directors including burner Hertzog Max and Posner often Victoria stone and Mark Ebal Alethea Arnaud cook Beryl and Sergey Lou's meets ax rounding out the conference we also have a session answering the age-old question of what do sales agents want with representation from CAA ICM UTA and endeavour content as well as presentations from der mean shake from Democracy Now and Leslie boo show the CEO of the festival agency for the run of the day I'd like to remind you that we have two breaks 150 pause at 11:30 and a 30-minute pause at 3:00 p.m. we also break for lunch from 12:45 to 1:45 during which our networking sessions dock connections will take place we have a tight turnaround so we ask that if you do leave you do leave quietly and remind you that all seats are first come first serve I would like to thank CBC and Glenn Gould studio for accommodating us today this is really one of our favorite days of the year and we're so appreciative of the space I also want to thank the tip staff that helped make the all conference happen they are kathleen drum karina rotten stein neal Macpherson Melissa D'Agostino Kristin boivin Rebecca Moran Diane Capilouto Erin van Tomlin yulish and Gabby I need a co tech Jonah cam first Bronwen Eadie Isaiah sunic Ameer Abdullah he Aaron Fitzgerald Aaron o Hanley and everyone at CBC especially Greg our technical director who's here every year and his awesome staff thank you guys so much and of course thank you to our wonderful volunteers now I'd like to introduce the founder of the tip dog conference Tom powers he started the conference a decade ago and has also tips documentary programmer you can also find him at his podcast pure nonfiction without any further delay Tom powers thank you very much so what can't think of a better way to start this than with our first guest Verner Herzog over the my 13 years here at the festival we've shown many documentaries by Verner Hertzog including into the inferno into the abyss Cave of Forgotten Dreams encounters at the end of the world and that doesn't even take into account the fiction films he's had recently if one of my favorite books about filmmaking is a book of interviews that Vernor did with Paul Cronin it's called a guide for the perplexed and I encourage everyone to go look up that book if you get a taste for Verner today his new film is a collaboration with Andre singer they have been longtime collaborators for nearly 30 years usually Andre has been a producer of earners films now they are Co directors the history that project is that Andre got access to to be able to interview Mikhail Gorbachev and said that he was looking for a new way to do it and felt that a perfect way would be to have for Anna Herzog with his unique Sensibility step in and do it the film had its tiff premiere last night how many people got to see meeting Gorbachev last night okay if a few we are going to have a couple clips give you a taste of film and I want to start with clip number one right now this comes very early at the film as foreigner Hertzog is beginning his interview with Mikhail Gorbachev let's watch that right now please welcome Verner Hertzog [Applause] for now I should say in setting up your conversation with with Gorbachev one of the themes that comes up is his role in helping foster the reunification of Germany and and you talk about that as being such an important thing in your life I want to so because we're talking about Germans and Russians I'm gonna go back to your childhood growing up in post-war Germany and ask you what as you were growing up what did what it meant to you to be German that was always something difficult because early on I understood that for example in relationship to Russia that the invasion of Nazi armies had caused the death of 20 25 27 million people so many people perished and can I ask you know what age would you have been conscious of that and how would have you become conscious of that fairly early on five six seven years of age but of course I had a notion that there was a dangerous world out there there was something like war out there when I was two and a half years old my mother ripped my older brother and me in the middle of the night out of our beds and it was still winter and wrapped us in blankets and went up on a slope next to the house and she said boys I took you out you have to see this as a dangerous world out there and she said the city of whose name is burning you have to see that in the city of whose name 40 miles away and at the end of the valley mountains left and right you saw the sky and it was slowly pausing it was not flickering of conflagration it was too far away it was pausing in red and orange yellow and and that's engraved into my into my soul forever this image and I knew there was a world out there there was something like war and it was dangerous and burning and so I I always was very very sensitive to what had happened Russia of course in in particular because there was so much misery and destruction and devastation inflicted by Germany on Russia in particular then there but I have to imagine the many Germans thought of Russians as aggressors who had inflicted damage and pain on their country no it was quite clear it was Germany who started the whole thing sorry to say that but it's correct and of course one of the consequences of the Second World War was that Germany was divided and I always had this very deep sentiments this feeling in me that the country belongs together we should be reunited and I think the same way about Ireland I think the same way about Korea's the north in South Korea there's something much deeper than just politics in politics had abandoned reunification at the time where I really became alarmed was when Willy Brandt whom I liked a lot the German Chancellor at that time declared the book of the German reunification closed he there was a rationale behind it he wanted to in small steps approach East Germany the Communists communist East to make life a little bit more tolerable for people in the East but as I said to myself now a German Chancellor has to acknowledge that there are things beyond politics things that are much deeper that of deep historical dimension and Ganta cross for example the Nobel prize-winning writer was being mentally against unification and I said to myself if this quest has been abandoned in politics and called upon to hold it together and I walked around my own country all the simulations of the board and up in the mountains down in the mountains so and I had the feeling I had to hold it together and because of that I like garbage off a lot because he made it possible that Germany was reunited and without any bloodshed all these events normally cost a lot of a lot of misery and bloodshed and violence and this was a non-violent thing and Gorbachev was a person who made it possible now let me ask you about your history with Russia you know what was your first experience of going to Russia I've been in Russia from the 1970s on but not only Russia it was the Soviet Union I worked as an actor in a science fiction film and the most of it was shot in Kiev in the - in Ukraine some of it in Tajikistan in the Pamir there the Pamir mountains so your role in the film it was some sort of a prophet who who actually has to disappear 20 minutes into the film I'm cowardly murdered from behind with a spear so I'm out I'm out of the movie after 20 minutes it was an interesting part made by Peter Fleischman one of the young German filmmakers at the time and I have been often Don in the Soviet Union and later in Russia and the Soviet Union disintegrated always working I was never a tourist always working making films and I am married to my Russian wife who originally came from siberia western part of siberia so part of my families is russian now and i see all their travails and tribulations and how they were faring over the last 25 years so I have a deeper insight in in a way then a regular tourist would have and what are the things in Russian culture that you respond strongly to poetry and you will see in in the film about Mikhail Gorbachev it's not only about this one particular person in a way secretly it is a film about the Russian soul and you will see it in garbage off he's a manifestation of the Russian soul he steps his tragedy and at the end all of a sudden out of the blue is he says I'm going to sing he doesn't sing but he recites a poem by one of the greatest poets of all time Lermontov who lived between 1840 and 18 for the six or so he only was 26 years old when he died in that you were like Pushkin and this poem has such power and has such depth and gives so much insight into the very soul of Russia that the moment Givat Shaul finishes to recite it he fades away and I have the scroll of the same poem again because it's so deep and so wonderful it's useful to be able to take it in twice and I force you to take it in twice so that's my privilege as a filmmaker and I just do it I do it without any any constraint I just love it I want to ask you about your own experience of the reunification of Germany because it was at the time something that was so unforeseen by most people what are your memories of when that began to occur well I saw that for example hundreds of thousands assembled each Monday and they were chant and it's in the film they were chant we are the people we are the people because a regime always claimed we the government are representatives of the people and we do our communism in in the name of the people and hundreds of thousands stood up every Monday and they chanted no we are the people and and you can't overlook it a human chain in the Baltics half the population of three countries held hands and and you see it in the film it's an endless chain of humanity and you cannot ignore it it's it's beyond politics there's some deep quest inside of people and same quest like that was inside of me it took me by surprise because I was filming in Patagonia on the southernmost tip South America in in the mountains at saratoga I did a feature film there and we had barely any contact and only four days belated I got a radio sort of message the Berlin Wall has come down and I stopped shooting a set to the entire crew in the actus I just heard on the radio that the wall came down can we give me ten minutes to absorb it this is so enormous so we were all stood around and somebody had a bottle of of brandy and we toasted and it that the moment the depths of this feeling I cannot describe and I knew it was the first step into reunification which came only a few years a few years later reunification itself was not a surprise in anymore I'm gonna show another clip from the film it's a very short clip we can stay here on stage let's show clip number two from meeting Gorbachev you conducted three interviews with Gorbachev in October last October December and then most recently April if I'm correct and Minh you described last night that the premiere that you had read his biography --scent biography and done lots of other research in in preparation for it but you weren't coming to this interview thinking as a journalist necessarily but can you describe what you felt your role was in interviewing them well grab a chav knew that he was not going to talk to a journalist he knew about about me and my work he even had many pages of explaining himself visibly my my work that I had done a set hours Mikhail Sergeyevich please please please don't do that now let's turn on the camera said let's go right into business and he knew he said in a way in in a joke but it was meant seriously said I am gonna talk to a poet and and I said you are right mr. president you are right and I had no paper with me no catalog of questions like a journalist normally would have so it was conversations and I followed the flow and I tried to stretch out my feelers and I I tried to have an understanding of the very basics of the man and it was good like that it was good like that and some things I wanted to discuss with him that were completely unusual new thoughts but of course he's 87 years and not flexible anymore I wanted to discuss Japan 1603 where there was a big battle and almost no firearms left 26 firearms but 10 years prior in 1592 or 93 there was a very big battle very well-documented hundred eighty thousand Japanese samurai on one side in the head one third of them had firearms sixty thousand firearms and without a formal declaration without any formal sort of treaty samurais decide that we are getting rid of firearms but it didn't last very long what I tried to find out what is the intrinsic quality of this kind of weapon systems firearms nuclear weapons that make them so hard to abolish we do not want them and yet they are persistent and he did not really follow a new thought he would immediately respond with I would say almost a mantra of getting rid we have to get rid of nuclear arms he wouldn't discuss a new idea about what makes them intrinsically versatile the 15th century you could not yes I tried to to maneuver and and I immediately saw you cannot do it or for example last meeting I was sometimes very stubborn we had our cameras and our sounded our light on wonderfully arranged three cameras and he said now I'm not gonna sit in this chair and I said okay Mikhail Sergeyevich well then yeah at his desk in the office but I said we can't have the cameras moved there I'd like he said oh it doesn't matter so we do it without camera and and our made cameraman just grabbed quickly a small a small digital camera and started to handheld shoot entire last session one camera handheld and for example the poem he since he and us speaks Russian of course he understood this was important I have to hang on to to Mikhail Sergeyevich and record the entire poem so yes I had my surprises and he he was very very somehow forceful and I had to follow the flow and I enjoyed it well when I first saw this film earlier this summer it struck me that of all the topics you've covered all the fascinating personalities throughout dozens of films politicians have rarely come up if ever I can't even really think of a major politician in your work and I wonder if that was a conscious choice or not well the project was somehow brought to me by Andrey singer and I immediately understood this was big something of great import and I thought can I do it and I immediately thought yes I can do this and it would be a joy to do it because I wouldn't I couldn't do a firm on anyone a ski flying world champion or a politician or a villain like a carousel without somehow having either deep respect or even love to this character and I said yes I'm gonna do it and I will do it well that you felt that yes it was and it doesn't matter when I have done a film on a great political figure it doesn't really matter it's always in a world view you see the subjects may be very dispersed but there's a common worldview in in in the film sets what I that what I notice when I when I see films on the screen it's strangely it says maverick I am NOT all the others are Mavericks peopIe in your films you think I'm a fraction no I'm the center in what I am doing all the others are the cows astray somewhere in the distance I make sense and hence all the others are Mavericks in in the in over your career there your politics does not come up so directly and I wonder if there if you've made a conscious choice to empath to avoid confronting politics head-on in movies yes but but I have been a politically interested person but I don't have I don't have political talents you need to be a very good speaker to crowd spending your the very first and most important step already has has been done but I try to avoid day-to-day politics in in my films it's not a fertile ground politics belongs wails but it's not a strange thing that I did a Fuhrman Mikhail Gorbachev let's look at another clip we're gonna skip clip three and move to clip four and let's watch that right now with you draw upon a large reservoir of archival footage and I feel throughout your films you enjoy working with with other footage can you talk about some of the footage that you uncovered here and and and you know what it meant to you well most of the archival footage was done by Andrei singer my co-director and we had some very very intelligent researchers mostly in Russia and of course there were certain things I was looking out for ahead read for example in the wonderful biography by William tockman on globe a chav he describes a moment where the aging senile Brezhnev fumbles a ceremony handing a medal to Gorbachev and Brezhnev forgets the name of garbage off has to be whispered has to be assisted by an aide but the microphone is ugly enough to pick it up and then Brezhnev says forgets why he's giving the medal and he asks Gorbachev he says you have come here why what was it all about why have you come here and grab a trough puts in the missing word canal because he opened a big important canal impression if is happy and says canal so and I knew Taubman must have seen some footage and we systematically searched right and we found it and it's a remarkable boy well for example that last predecessor of garbage off they all died they're all old men Brezhnev and drop of Jenko all in their 80s and Charlie Anka was terminally ill when he was selected General Secretary of the Communist Party and they staged fake for example ballot casting his hospital room was rigged as a polling station and from behind an aid helps holding Changi anchor to stand upright and you see a hand from the side at his waist and I say watch the what's the hand at his waist and there's a man standing behind him to hold him upright it was all a charade and fake working sessions were were held and we knew that had happened and I said find footage of that fine they tried it but of course it was hard to find it and we got permission to use it so some of it was evident to see how popular Gorbachev was in the West it's easy yes you go to any country he visited and you will have footage but some very specific footage that we found was very intense intense search behind it let me ask you about your collaborations over the years with Andrei singer he's a filmmaker in his own right with a long career I understand that you guys began your association nearly 30 years ago when he was commissioning at her BBC and asked you to do lessons of darkness your film about the Kuwaiti oil fields well he didn't ask me to do it I came with him one thing he gave me money to do it yes but he immediately understood there was something beyond politics by the way there was it was bigger than politics it was intensive film never mentions neither the country Kuwait nor Hussein's armies who set all the oil wells on fire at that time and it was so big the event that I said this is not a political crime alone it's a crime against creation and because it is so big it has a cosmic dimension I want to do it as a science fiction film and Andrei said that's something I've never heard before go ahead just do it and and in such a way we have always collaborated mostly him as a as a producer or co-producer in some cases we did a small very small film in south of south of Sudan today southern Sudan border with sorry Ethiopia border with Sudan in Kenya and we stayed out in the middle of the field and stayed in a tent and there was something not right with a floor of the tent and he woke up and I woke up early in the morning and actually what was kind of stirring was a big snake under the floor of the tent in other words I have had a very intelligent discourse with him a very trust full collaboration in productions and we even slept on the same snake and it's been a lasting collaborate I guess the snake makes it a lasting collaboration no it's it's just it's just a funny episode but I wanted to mention it because it's actually the truth and and here with Gorbachev he always understood there was something which is contemporary about Gorbachev I said to him I do not want to mess around in contemporary politics but more in general here we have a case where a great figure of historical dimensions made things possible that were unthinkable at the time the Cold War at its coldest he meeting Ronald Reagan the most unlikely person with whom you would think he could connect and it worked and they together triggered the biggest arms reduction in world history they got rid of the most dangerous of all weapon systems are shortened medium-range delivery systems rockets where you could hit from German soil the men's room in the Kremlin within 210 seconds so there's no reaction time and all this is all this is banned until today these treaties are valid and I had the feeling there is something a lesson there a lesson we should not return to Cold War we should not return to augmenting and renewing nuclear arsenals they are too dangerous and the entire demonization of Russia is something I think is this is not productive and I do believe that Russia would be a much more natural ally to the West than other big powers and hopefully it will return the climate might shift and maybe this film could play a little part in it but it's a very general and dude it's not we are never discussing Trump working your gun you just name it it's it's a it's a mood it's a very very important attitude a climate that has to be created and should return you it feels like you want to start from a position of optimism towards disarmament and towards seeking peace yes in mutual respect its seeking peace well there is no war between the west and in Russia but I don't like to see how how the mood is shifting and the the narrative is shifting towards things that should not happen again like war or cold war let me ask you about another filmmaker who made a contribution to this film and that's Vitaly Manske a filmmaker from originally from Ukraine who spent many years in Russia now lives in Latvia he's here at this festival with his new film called Putin's witnesses based on footage he shot with Putin in the year 2000 but earlier than that in the 1990s he had made a film about Gorbachev and you use some of that footage can you talk about yes contribution well I'm forever grateful to Vitaly because he would allow me to use an entire segment of his film which is shot in in the year 2000 at easter holidays gorbachev returned to his home village visits a place where he lived and it's all empty and everybody has died and he has reminiscences of his wife Raisa who was his great love of his life and he meets his old surviving aunt who is blind and it's it's a wonderful encounter and and I said to Vitaly it would be wonderful if you could allow me to use this segment from your film because I want to show the soul of the man the person the deep soul of course I do have other footage and things that I shot myself him reciting the poem for example and what Vitaly allowed me to use is filmmaking at its best it's a wonderful wonderful episode that I was allowed to use and I'm very very grateful I saw his film yesterday in the afternoon and I to understand that he has emigrated to Latvia I do not follow all the details of why and I do not know all his motivation but I respect him and it was the first time you're meeting first I never had seen him I didn't even know how he looked like and somebody said this is Vitaly I was waiting this is him and I immediately gave him a good Bavarian hug you you mentioned Gorbachev's relationship with his wife Raisa and it is a important part of of your film and you you make a point in the film that of of observing how often they appeared in public together you made a point that it was obvious to me in retrospect but I'd never thought of before is is how unusual that had been in the sequence of of Soviet leaders before then you never saw a Soviet leader yeah their spouse there were non-existence in public life non-existent so I wonder ask you to elaborate more on you know on why you felt it was important to talk about that's the private side of Gorbachev's life besides just as public life well I also wanted to to show the human being and beyond the human being something that is particularly Russian there's a depth of of the Russian soul Indian garbage offs case in in many cases that you see in Russia a deep sense of tragedy and he's he's a tragic figure because he's mostly considered a traitor in in Russia so because he's blamed for the dissolution yes which he Union he vehemently opposed it and the moment it took place within 48 hours he stepped back he stepped down and left political life so that's a smaller aspect to the tragedy of of Gorbachev but at the same time I was fascinated when when you speak about his wife Clarissa because they there's something which I felt in common with him because I'm happily married and since I'm married with my wife Lena it has been like 25 years of honeymoon and I feel blessed and globbit' off the same way he he knew he knows he was a blessed man there was nobody like her and I had a hard time to ask him but I did it I asked him how much do you miss her and he looks at me silently and looks and looks and he says when she died my life was taken from me and I do not say anything and I hold it and I hold it and he looks he looks at me in in this very very intense silence and then he does this and I still feel the goosebumps when when I just think about this make makes me cry and when I think about this it's a very moving moment in the film yeah that whatever you experience there I think is transmitted you're on screen but not only a personal moment it's a Russian moment and I love Russia for for the depth of their emotions in the depths of their poetry and in the depths of the discourse you can have with with Russians since you brought up your wife Leonard I shouldn't acknowledge though she's very accomplished photographer and many other things herself and you were telling me about an extraordinary project she's doing right now on lost languages and maybe I can take a moment to ask you to describe that well she has done an oratorio about a little lesson an hour composed of voices that are extinct meaning that they're only existing on in tape recordings in some voices where there's a definitive only last speaker of a language left and combined with a contemplative video and it's immersive sort of insulation with islands of sound and it points to something which I find astonishing that the Toronto Film Festival all of a sudden acknowledges the indigenous ground on which this festival is held and we should also acknowledge that we have something like maybe 6,000 something languages left and they are disappearing at a rate that is absolutely shocking and alarming by the end of this century maybe 90% of all the languages spoken today will be lost and it's not only the languages it's more than that it's world views expressed in form of language and I find it alarming beyond description and she has touched a quart of something very important as important as let's say the ecological movement yes it is important that the Snow Leopard should survive in some sorts of whales should survive but nobody talks about disappearance of human of human cultures and human people and and languages and someone who brought up speaking German now speaks English and I think you have other languages too do you when when you are speaking English versus speaking German do you feel it you have a different identity now or not a different identity but a certain caution about language and it has been good to married life that with my wife and I do not speak Russian or do we to speak German to each other we meet at a at a level of language that is neither heard nor mine and hence we are very cautious they are very very cautious in all the years I have been with her there was not one foul word not one ugly word because we are careful with language and this is part of maintenance it's good maintenance it's my advice for one of my advisers one of my advices from for married life the daily attention the daily attention it's a it's a it's a great gift it's such a such a gift of God that we that we can be married and that things work out and you are not alone anymore and you have found your soul mate that's an incredible gift to to assess human beings we better take care of it I want to ask you about one of your quote in formulations about your non-fiction filmmaking that you're in search of an ecstatic truth and I wonder if I could just ask you to elaborate again what you mean when you describe being in search of an ecstatic truth I try to make it sort I'm sick and tired of films that are only fact-based because facts do not constitute truth facts are something different they are important because I have normative normative power they change the norms truth nobody by the way knows what it is neither philosophers not even mathematicians could tell you what it is but but I think you basically understand what I am talking about a quest for it at least and I try to find truth in a deeper way a deeper strata of it and that means imagination stylizations sometimes even outright invention in in documentary films because sometimes invention brings you closer to an intrinsic juice then adding fact fact track track track it doesn't illuminate you I'm looking for something that allows us to step outside of ourselves as an audience in the experience and deep where we take a deep breath and we know there is a truth in it for example the poem of lemon lemon tov at the end of Gorbachev you know just it just takes your breath away because of his steps and you know the poem contains a deep truth about Russia and it contains a deep truth about garbage off more than any accumulation of facts of his life and I keep saying if you think facts create truth then you better read from first to last page the phone directory of Manhattan for a million entries every single one factually correct but it doesn't illuminate you it's not the book of books it is not so get away from the phone directory and and go into poetry instead [Applause] I want to show one final clip from the five clip from the film this is clip number five comes very near the end of the film let's watch clip number five you would birthday last week turned 76 and I wondered you know as you get into your 70s if you think differently about the projects you take on and and the the time you have no I still try II I still try unsuccessful unsuccessfully to keep abreast with a onslaught of ideas and projects in visions and things so I cannot never catch up so I finished the film on garbage off three weeks ago but meanwhile I have finished a future film in Japan in Japanese language I have done almost all of a film for BBC on the British writer Bruce Chatwin while I'm sitting here and have to almost finished films there are four or five feature films that somehow haunting me and that I want to do so I can work faster today because the tools are faster I can edit today almost as fast as I'm thinking Grizzly Man was edited in nine days into the abyss was edited in five days because digitally well I do not shoot very much for into the abyss I shot six hours footage in further Japanese feature film and a full-length feature film I have six and a half hours footage so it can be edited quickly because there's not much to edit you just put it together and that's it and I know it's raw and powerful and you just leave it like that so I I always and I have never done anything else in my life I always do the things why I'm totally and utterly convinced this is something you cannot you cannot avoid this is so big you have to do it it's touches me so deeply that I know it will touch some audience out there as well I am NOT a spokesperson but I know in a strange way that I'm in contact with an anonymous amount of audience out there for my last question I don't think I would ever think to ask this but because you ask Gorbachev I want to ask do you think about what would be inscribed on your tooth oh for God's sake no it's number one I shouldn't die number two there shouldn't number three sorry for saying something is impertinent so but number two I think there shouldn't be a gravestone I I don't know how I would die but maybe from a stray bullet sometimes or whatever I have left I have led a somewhat dangerous life it's some at some times I have no clue but when Gorbachev comes up we tried yes it's a beautiful one it is beautiful I've done my best I've always tried to be a good soldier I've never felt I was an artist but I always had the feeling you soldier on you do the you do the doable and you hold the outpost that has been abandoned by so many well it's a beautiful film it's playing again today at 4 o'clock at the festival we're always so happy to have you here at the festival I deeply appreciate of you taking the time this morning thanks very much - Verner Hertzog [Applause]

Channel: TIFF Talks

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Id: Vk2J-mOVZdg

Length: 51min 55sec (3115 seconds)

Published: Wed Oct 03 2018