Top German directors
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Fritz Lang was born in Vienna, Austria, in 1890. His father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. From 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse, the Gambler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.
In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.- Director
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Director. Writer. Producer. Actor. Poet. He studied history, literature and theatre for some time, but didn't finish it and founded instead his own film production company in 1963. Later in his life, Herzog also staged several operas in Bayreuth, Germany, and at the Milan Scala in Italy. Herzog has won numerous national and international awards for his poetic feature and documentary films.- Director
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F.W. Murnau was a German film director. He was greatly influenced by Schopenhauer, Nietzsche, Shakespeare and Ibsen plays he had seen at the age of 12, and became a friend of director Max Reinhardt. During World War I he served as a company commander at the eastern front and was in the German air force, surviving several crashes without any severe injuries.
One of Murnau's acclaimed works is the 1922 film Nosferatu, an adaptation of Bram Stoker's Dracula. Although not a commercial success due to copyright issues with Stoker's novel, the film is considered a masterpiece of Expressionist film.
He later emigrated to Hollywood in 1926, where he joined the Fox Studio and made three films: Sunrise (1927), 4 Devils (1928) and City Girl (1930). The first of these three is widely regarded as one of the greatest films ever made.
In 1931 Murnau travelled to Bora Bora to make the film Tabu (1931) with documentary film pioneer Robert J. Flaherty, who left after artistic disputes with Murnau, who had to finish the movie on his own. A week prior to the opening of the film Tabu, Murnau died in a Santa Barbara hospital from injuries he had received in an automobile accident that occurred along the Pacific Coast Highway near Rincon Beach, southeast of Santa Barbara. Only 11 people attended his funeral. Among them were Robert J. Flaherty, Emil Jannings, Greta Garbo and Fritz Lang, who delivered the eulogy.
Of the 21 films Murnau directed, eight are considered to be completely lost.
In July 2015 Murnau's grave was broken into, the remains disturbed and the skull removed by persons unknown. Wax residue was reportedly found at the site, leading some to speculate that candles had been lit, perhaps with an occult or ceremonial significance. As this disturbance was not an isolated incident, the cemetery managers are considering sealing the grave.- Writer
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Director, writer, producer and composer Tom Tykwer was born in 1965 in Wuppertal, Germany. He showed an interest in film-making from childhood, making super 8 films from the age of 11. Among his first jobs was working at a local art-house cinema. Tykwer eventually relocated to Berlin, first working as a film projectionist and then becoming head of programming at the Moviemento Theater.
Tykwer's friend, the director Rosa von Praunheim, encouraged him to experiment with film-making and the result was the short Because (2001). Other short films followed, and in 1993 Tykwer made his first full length feature Deadly Maria (1993). Tykwer's international breakthrough came in 1998 with Run Lola Run (1998), which was a hit with both audiences and critics alike. The film garnered many awards and was the most successful German film of the year.
Subsequent projects include Heaven (2002), Perfume: The Story of a Murderer (2006), The International (2009) and the ambitious epic Cloud Atlas (2012).- Director
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A controversial film maker, Wolfgang Petersen has at once been lauded for his professionalism and attention to detail and decried for turning out a string of standard commercial Hollywood blockbusters. The son of a naval officer, Petersen held a lifelong fascination with the sea and naval subjects. He was born in Emden and attended drama school in Hamburg. Having already made some 8 mm films while at school, he proceeded to direct as well as act at the Junges Theater in Hamburg (later renamed the Ernst-Deutsch-Theater). In 1966, he joined the newly formed Deutsche Film- und Fernsehakademie Berlin (DFFB) where he made several short films while simultaneously directing plays in Hamburg. Having caught the eye of German television networks, Petersen went on to direct a string of TV movies which often dealt with such contentious issues as environmental pollution and underage sex. An early success and also his first cinematic release was the taut psychological thriller One or the Other (1974), which starred Jürgen Prochnow and Elke Sommer. This led to more regular assignments on the ever-popular detective series Tatort (1970) for which Petersen directed six episodes.
In 1980, Petersen was commissioned by Bavaria Studios to direct Das Boot (1981), based on a 1971 novel by Lothar G. Buchheim. Filmed on a budget of 32 million DM, it became the most realistic and harrowing portrayal of life aboard a submarine in wartime filmed to date, the action of 'Das Boot' being set during the battle of the North Atlantic and culminating in an abortive attempt to cross the British-controlled strait of Gibraltar into the Mediterranean. The film concluded with a bitterly ironic climax. 'Das Boot' (re-released as a miniseries in 1985) starred Petersen's long-standing collaborator Jürgen Prochnow (who became an international star as a result) and was nominated for six Academy Awards (including Best Director and Best Writing). In its wake, Petersen directed and co-wrote a children's fantasy --again filmed at the Bavaria facilities near Munich-- The NeverEnding Story (1984). Though successful at the box-office (especially in Germany), it did not attract universal critical appeal. By contrast, his second English-language film, the science fiction drama Enemy Mine (1985) was only a modest financial success but rated better in reviews over the years, the Los Angeles Times describing it as "surprisingly coherent, surprisingly enjoyable".
In 1987, Petersen moved to Santa Monica, California. For a while, he was part of an A-list of directors tasked with helming mega-budget blockbusters starring big name actors like Clint Eastwood, Harrison Ford, George Clooney and Brad Pitt. Most were palpable box-office hits, especially In the Line of Fire (1993) (often cited as his best Hollywood enterprise), Air Force One (1997) and the historical epic Troy (2004), which grossed $497.4 million worldwide. Reviewer reception for Troy tended to be lukewarm to cool, even more so with the disaster movies Outbreak (1995) and The Perfect Storm (2000), the latter criticized as suffering from "a lack of any actual drama or characterization". Attracting even lower critical esteem was Petersen's remake of Irwin Allen 's original 1972 disaster movie, Poseidon (2006). It ended up both a box office and a critical flop in the U.S. with only the superior CGI special effects gaining plaudits. Poseidon was nominated for the Golden Raspberry Award for Worst Remake. Following this debacle, Petersen withdrew from Hollywood and had a decade-long hiatus before directing his final picture, the German heist drama Vier gegen die Bank (2016).
Petersen's second wife was the assistant director and script supervisor Maria-Antoinette Borgel with whom he had a son. Petersen died from pancreatic cancer on August 12 2022 in Brentwood, California.- Director
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Wim Wenders is an Oscar-nominated German filmmaker who was born Ernst Wilhelm Wenders on August 14, 1945 in Düsseldorf, which then was located in the British Occupation Zone of what became the Bundesrepublik Deutschland (Federal Republic of Germany, known colloquially as West Germany until reunification). At university, Wenders originally studied to become a physician before switching to philosophy before terminating his studies in 1965. Moving to Paris, he intended to become a painter.
He fell in love with the cinema but failed to gain admission to the French national film school. He supported himself as an engraver while attending movie houses. Upon his return to West Germany in 1967, he was employed by United Artists at its Düsseldorf office before he was accepted by the University of Television and Film Munich school for its autumn 1967 semester, where he remained until 1970. While attending film school, he worked as a newspaper film critic. In addition to shorts, he made a feature film as part of his studies, Summer in the City (1971).
Wenders gained recognition as part of the German New Wave of the 1970s. Other directors that were part of the New German Cinema were Rainer Werner Fassbinder and Werner Herzog. His second feature, a film made from Peter Handke's novel The Goalie's Anxiety at the Penalty Kick (1972), brought him acclaim, as did Alice in the Cities (1974) and Kings of the Road (1976). It was his 1977 feature The American Friend (1977) ("The American Friend"), starring Dennis Hopper as Patricia Highsmith's anti-hero Tom Ripley, that represented his international breakthrough. He was nominated for the Palme d'Or at the 1977 Cannes Film Festival for "The American Friend", which was cited as Best Foreign Film by the National Board of Review in the United States.
Francis Ford Coppola, as producer, gave Wenders the chance to direct in America, but Hammett (1982) (1982) was a critical and commercial failure. However, his American-made Paris, Texas (1984) (1984) received critical hosannas, winning three awards at Cannes, including the Palme d'Or, and Wenders won a BAFTA for best director. "Paris, Texas" was a prelude to his greatest success, 1987's Wings of Desire (1987) ("Wings of Desire"), which he made back in Germany. The film brought him the best director award at Cannes and was a solid hit, even spawning an egregious Hollywood remake.
Wenders followed it up with a critical and commercial flop in 1991, Until the End of the World (1991) ("Until the End of the World"), though Faraway, So Close! (1993) won the Grand Prize of the Jury at Cannes. Still, is reputation as a feature film director never quite recovered in the United States after the bomb that was "Until the End of the World." Since the mid-1990s, Wenders has distinguished himself as a non-fiction filmmaker, directing several highly acclaimed documentaries, most notably Buena Vista Social Club (1999) and Pina (2011), both of which brought him Oscar nominations.- Director
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Has studied economy and political sciences as well as at the Institut des Hautes Etudes Cinematographique (IDHEC) in Paris, France. Worked as an assistant director with Louis Malle, Jean-Pierre Melville and Alain Resnais. Founded his own production company Bioskop Film together with Reinhard Hauff and Eberhard Junkersdorf in 1973. Has directed several operas in Frankfurt a/M, Berlin (Germany) and Paris, France. Since 1992 chief executive of the german production company Sudio Babelsberg GmbH (former UFA/DEFA).- Writer
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Roland Emmerich is a German film director and producer of blockbuster films like The Day After Tomorrow (2004), Godzilla (1998), Independence Day (1996) and The Patriot (2000). Before fame, he originally wanted to be a production designer, but decided to be a director, after watching the original Star Wars: Episode IV - A New Hope (1977). Emmerich began his career in his native Germany. In his youth, he pursued painting and sculpting. While enrolled in the director's program at film school in Munich, his student film The Noah's Ark Principle (1984) went on to open the 1984 Berlin Film Festival. The feature became a huge success and was sold to more than 20 countries. In an amazing trivia, he directed his first feature, The Noah's Ark Principle (1984), in 1984. He is openly gay and a campaigner for the LGBT community.
A director/writer/producer with a flair for special effects-driven action, German Roland Emmerich made himself at home in blockbuster-hungry 1990s Hollywood. Born and educated in West Germany, Emmerich studied production design as well as direction at the Munich Film and Television School. After his student film, The Noah's Ark Principle, debuted at the 1984 Berlin Film Festival, Emmerich formed his production company Centropolis and directed supernatural fantasies Making Contact (1986) and Ghost Chase (1987), and the straight-to-video action film Moon 44 (1990). On the latter, he met actor Dean Devlin who subsequently switched jobs to become Emmerich's writing and producing partner once Emmerich set up shop in Hollywood.
After making his solo Hollywood debut directing Jean-Claude Van Damme in the cyborg action fest Universal Soldier (1992), Emmerich and Devlin revealed a talent for conjuring A-level action spectacles out of B-movie scenarios with their first film together, Stargate (1994). A space odyssey mixing ancient Egyptiana and high-tech wizardry, Stargate became an unexpected hit. Emmerich hit his blockbuster stride with his next film, Independence Day (1996). With its eye-popping destruction of major cities and climactic annihilation of a spacecraft via portable computer, Independence Day blew away its summer movie competition on the strength of its visual flash. Geared to repeat with the endlessly- and creatively-hyped version of Godzilla (1998), Emmerich instead faced the conundrum of directing a $100 million grossing film that did not live up to box office expectations. Emmerich and Devlin next turned their epic visions to the decidedly lower-tech (but still CGI-enhanced) action of the American Revolution in the Mel Gibson summer vehicle The Patriot (2000).