His films often feature heroes with impossible dreams, people with unique talents in obscure fields or individuals who find themselves in conflict with nature.
Herzog's films have received considerable critical acclaim and achieved popularity on the
encyclopedia entry about film-making which he says provided him with "everything I needed to get myself started" as a film-maker—that, and the 35 mm camera that the young Herzog stole from the Munich Film School.[5] In the commentary for Aguirre, the Wrath of God, he states, "I don't consider it theft—it was just a necessity—I had some sort of natural right for a camera, a tool to work with." He studied at the University of Munich despite earning a scholarship to Duquesne University in Pittsburgh, Pennsylvania.
At 14, he was inspired by an
Ref; Notes via wikipedia.art house circuit. They have also been the subject of controversy in regard to their themes and messages, especially the circumstances surrounding their creation. A notable example is Fitzcarraldo, in which the obsessiveness of the central character was mirrored by the director during the making of the film, as shown in Burden of Dreams, a documentary filmed during the making of Fitzcarraldo. His treatment of subjects has been characterized as Wagnerian in its scope, as Fitzcarraldo and his later film Invincible (2001) are directly inspired by opera, or operatic themes. He is proud of never using storyboards and often improvising large parts of the script, as he explains on the commentary track to Aguirre, the Wrath of God.
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