Werner Herzog: Where are you physically? Ben Simington: I'm in New York, in Brooklyn. Herzog: Oh yeah, okay, I'm in Los Angeles. Simington: There are a lot of aspects of the two new films that seem like they might be new to you—they are the first screenplays, I believe, that you are not the sole author of, they're your first features in the U.S. in 30 years, since Stroszek, and they both seem to be the first explicit American genre films that you've done, the film noir and the police procedural. Herzog: Film noir I've done before, with Even Dwarfs Started Smaller (sic), Nosferatu, whatever. But of course much of it is new terrain, I'm always out for new horizons, new alliances, new actors, the collaboration with people, for example, who are from the stable of David Lynch, new actors like Michael Shannon, Willem Dafoe, Chloe Sevigny...the screenplay of The Bad Lieutenant, a good amount was written by me, or changed, modified. It's not that I'd just take a screenplay from someone. And My Son, My Son was a screenplay co-writer with a friend of mine. Simington: My Son, My Son feels more like an ensemble piece, and The Bad Lieutenant seems really driven by a single performance by Nicolas Cage. Herzog: No I disagree! Nicolas Cage would be no man's land without the very strong chemistry and texture of the supporting cast, he would be nowhere! It's the same as with Humphrey Bogart, who'd be in no man's land without Ingrid Bergman. Simington: Both films deal with characters who are going mad; in The Bad Lieutenant we know from the get-go what has motivated Cage's madness, while in My Son, My Son we see the flip side of the coin where there's no concrete explanation of Shannon's mental illness. How did you go about structuring two films that show different sides of insanity? Herzog: I wouldn't emphasize the mental illness so strongly. Sure, in My Son, My Son there is an element of mental illness, but there is also something else, something other, something inexplicably scary about the story. If it's all explained by mental illness I wouldn't care very much for a story like that. I met the real man who committed the murder, who will spend 8 1/2 years in a maximum-security mental institution for the criminally insane. I met him and he was really…you could tell he was not right in his head. There were things like he wanted to be crucified on national television live, and he was upset that it wouldn't happen. There was real madness there, and I don't harp on it. I do not want to play with it too strongly, then all explanations come down to "it was insanity, period," which is not the case. Simington: You mentioned working with David Lynch, who executive produced My Son, My Son. Beyond working with Grace Zabriskie, who has been in several of Daivd Lynch’s films, what sort of involvement with Lynch did you have? Herzog: Not much, you shouldn't overdo it. We somehow plotted to make films with fairly low budgets but with great stories and the best of the best of actors, almost like putting out a manifesto, that's how filmmaking should be done responsibly, where you would be in profitable terrain fairly early on. As we liked each other and respected each other's work very deeply we were talking about projects and he said do you have a story and I said yes, and David asked "when can you start?" and I said "tomorrow!." [Laughing] So he said it would be great if he could protect the film and he could have a look at the production, but he never interfered, he never showed up on the set or was there during editing or anything. It's something else, some sort of a spark that ignited a project that was long dormant. His main role was throwing a match onto a powder keg. Simington: What attracted you to the characters played by Cage and Shannon? Herzog: There are two sides. One side is the character as they exist in the screenplay, in the story. In both stories, for me, something that I felt was familiar. And second, the caliber of actors. Michael Shannon is an extraordinary talent, and you can tell right away. I saw that long before he got the Oscar nomination, I even invited him to join me on the set of The Bad Lieutenant. I didn’t have anything big to offer him, he was there for two or three days; I asked him to look at how I work and how I function, that I'd like to warm up with him as he would have to carry the central role of my new film on his shoulders. I think it was good that we had at least a few days time to warm up with each other. Five months later he got the Academy Award nomination and I really felt proud for him. Simington: Do you think these two characters inhabit a similar world? Herzog: I think they're quite different, otherwise Nicolas Cage would have played both parts; or Michael Shannon would have played the bad lieutenant as well. I'm always good in casting; or, let's put more solidly (it sounds like being conceited)—I think I've not made major mistakes in casting throughout my life as a filmmaker. Simington: A question about the look of your movies...Peter Zeitlinger's cinematography really shines in both The Bad Lieutenant and My Son, My Son. He's been a major collaborator of yours for years now, shooting with you since Gesualdo. How do you communicate with him about what you want in your frames? Herzog: Well, I have a sort of short hand communication with him by now, but it has always been quite brief and clear because I have such a clear vision of what I want to do. I start to work out a scene with him first, the kind of movement, the kind of camera position and things like that, and it goes very quickly. I think my footprint is very strong in all my films with him, but it was the same with Thomas Mauch who did Aguirre and Schmidt-Reitwein who did many others like Nosferatu. You can tell there's always a certain handwriting in it. Simington: Has your relationship with Zeitlinger changed over the years as you've moved to larger or different productions? Herzog: I've made much larger productions before, for example Nosferatu and Fitzcarraldo, so these two recent films, The Bad Lieutenant and My Son, My Son are much smaller productions as a matter of fact. But—how can I say? We have a very physical approach to cinematography. There's a clear understanding between him and me. He actually got into filmmaking because he had seen The Enigma of Kasper Hauser, which was such a strong experience for him that he decided to become a cinematographer. He would be, for example, the only one who, when we are shooting and something doesn't feel right, he'd put the camera down and say, "Werner, this scene doesn't have a rhythm." He's the first cinematographer to tell me that, and he's totally right because he senses it physically. I think he's a wonderful collaborator, physically very strong, I mean strong like an ox! Simington: You've said before that you "direct landscapes," that you direct spaces. New Orleans and Louisiana as a whole are cast very well in The Bad Lieutenant, and San Diego has a very real sense of place in My Son, My Son. What was it like shooting in both locations? Herzog: New Orleans, I mean New Orleans after Katrina, has a big role; it is obvious it would play a bigger role than just the backdrop. San Diego isn't that essential to the film [My Son, My Son], it could have happened in Minneapolis or Boise, Idaho, but a kind of suburbia close to the Mexican border is something that translates into the film, and when you speak of directing landscapes I have some wide locations in Peru on the Rio Urubamba, and I also shot in Central Asia, a very, very strange dream sequence, a very essential piece in the film. Simington: Speaking of dream sequences and subjective camerawork, those scenes you speak of in My Son, My Son remind me of Kausper Hauser’s dreams, both somehow are related, too, to Nicolas Cage's hallucinations with the iguanas. Herzog: That is all stuff I filmed myself. I wouldn't allow a cinematographer to do that in such a case, I'd do it myself. Central Asia, for example, I did myself, in My Son, My Son. The iguanas had to be a completely demented way of seeing the world, that only the bad lieutenant full of drugs would see, that no one else would see, so in cases like that I take over the camera. Simington: In The Bad Lieutenant press kit Nicolas Cage mentions a Cortez project you brought to him several years ago. Herzog: There are sometimes projects that are not really doable; in this case it was a production that would cost around $100 million, and you make a film like that only if your last film has made domestic growth, box office growth, of $250 million, then you can make a film like that. It was 14 years ago or so, but it was very clear early on that the film was not going to be made, and I can live easily with that. Simington: Do you have any other projects that are in the pipeline right now? Herzog: About 5 feature film projects and 3 documentaries. It's not that I am working on them, but that they are pushing me. I never search around for projects, they come to me like burglars in the night. Simington: So you don't necessarily feel a different impulse to make a documentary or a feature? Herzog: No, I don't care, it's all movies for me. And besides, when you say documentaries, in my case, in most of these cases, means "feature film" in disguise.

BAD LIEUTENANT: PORT OF CALL NEW ORLEANS