William Friedkin interviewing Fritz Lang - Full Interview

Early Life and Influences

Personal Reflections on Filmmaking

• The speaker reflects on their filmmaking process, describing it as a "sleepwalking security," indicating a sense of instinctual creativity without external influences or role models.

Journey to Belgium

• After various experiences, the speaker mentions running away from home and eventually landing in Belgium, suggesting a search for personal freedom and identity.

First Encounter with Film

• The speaker recounts their first experience watching a film at an open garden restaurant in Brazil around 1917, highlighting the impact of this moment on their future career.

Early Experiences in Cabaret

• While working in a cabaret, the speaker met a young man who suggested they collaborate on writing songs. This partnership marked the beginning of their creative journey in film.

Transition to War and Career Development

Impact of War

• The speaker discusses being drafted into war and how it changed them. They mention being wounded but also finding ways to avoid front-line combat due to nearsightedness.

A Turning Point: Acting Opportunity

• A chance encounter leads to an acting opportunity when approached by Peter Omire, who offers them a role in a play despite initial reluctance due to language barriers.

Success in Theatre

• The speaker successfully plays the main part in the play after negotiating terms with Omire, which opens doors for further opportunities in motion pictures.

Career Beginnings and Challenges

Transitioning into Film Writing

• Following success in theatre, the speaker begins writing films while still navigating military obligations during World War I. They describe writing scenes quickly with minimal resources.

Learning Curve in Filmmaking

• Despite having written some films previously, the speaker admits they had little knowledge about film production techniques like cutting or scene length at that time.

This structured approach captures key moments from the transcript while providing timestamps for easy reference.

Fritz Lang on His Career and Themes in Film

Beginnings as a Director

• Fritz Lang discusses how he became a director after writing a film, which he shot in just four days. This marked the beginning of his career in directing.

Themes of Social Evils

• The conversation shifts to the themes present in Lang's major films, emphasizing that they address social evils rather than focusing solely on murderers.

Reflections on "Metropolis"

• Lang reflects on his feelings about "Metropolis," stating that while he liked it during production, he grew to hate it due to its thesis regarding the relationship between capital and labor.

• He mentions receiving feedback from a corporate leader who agreed with the film's message about needing compassion for workers, yet Lang remained skeptical.

Technical Aspects of "Metropolis"

• Discussing technical effects, Lang notes that many automation elements depicted were not feasible at the time due to limited technology; everything had to be done practically on camera.

• He highlights the genius of his cameraman Garita, who was responsible for innovative visual effects like transforming a living girl into a robot.

Sound and Film Rhythm

• When asked if he would have used sound in "Metropolis," Lang firmly states no, believing that introducing sound would disrupt the film's rhythm.

Personal Projects and Creative Control

• After conflicts with Ufa over sound inclusion, Lang expresses his desire for creative control over future projects. He eventually agrees to make a film under strict conditions regarding script and casting.

Exploration of Dark Themes

• In creating personal films like "M," Lang aims to explore deep social issues through individual stories rather than grand narratives.

• He recounts disturbing real-life inspirations for crime scenes that influenced his storytelling approach.

Casting Choices for Authenticity

• For "M," Lang chose Peter Lorre because he believed Lorre’s appearance would make it hard for audiences to accept him as a murderer, adding complexity to the character portrayal.

Understanding Violence in Film

The Presentation of Violence

• The film's approach to violence is subtle; it shows the aftermath rather than the act itself, such as a girl's ball rolling away.

• The creator expresses a strong aversion to depicting violence directly, believing that showing horrific acts would be tasteless and alienate the audience.

• By not showing violent acts, the audience is invited to imagine the horror themselves, becoming collaborators in understanding the gravity of actions.

Empathy vs. Condemnation

• The murderer in the film is portrayed as a complex human being rather than a mere villain; this challenges traditional views on morality and crime.

• There’s an exploration of whether audiences should empathize with murderers; however, the creator clarifies that understanding does not equate to condoning their actions.

Audience Reaction and Intent

• The creator reflects on how audiences may perceive characters differently than intended; he questions if they truly condemned the murderer depicted in his work.

• A significant scene was cut from the film's ending, which emphasized parental responsibility regarding child safety—a message he felt was crucial.

Realism and Authenticity in Filmmaking

Use of Actual Criminals

• Real criminals were cast for authenticity in scenes like the kangaroo court, enhancing realism and societal reflection within the narrative.

• Some actors were initially hesitant due to their lack of experience with photography but agreed when compensated for their participation.

Challenges During Production

• During filming, there were real concerns about police intervention; some actors had to leave quickly when authorities became aware of their involvement.

Reflections on Societal Issues Through Film

Artistic Responsibility

• The filmmaker acknowledges that many films reflect bleak realities similar to those created decades ago, suggesting a persistent societal malaise.

Historical Context and Influence

• Films produced during this period addressed social issues leading up to Nazism; filmmakers could not escape influence from post-war sentiments prevalent in society.

Censorship and Creative Struggles

Confronting Authority

• An anecdote reveals tensions between filmmakers and Nazi officials over censorship—specifically regarding a film deemed politically sensitive by authorities.

Navigating Propaganda Ministry

• The filmmaker recounted an uncomfortable encounter at the Ministry of Propaganda where he faced armed guards while attempting to discuss his censored work.

A Journey Through a Disagreeable Corridor

The Initial Experience

• The narrator describes walking through an unwelcoming corridor with cement floors and blank walls, where every step echoed, creating a disagreeable atmosphere.

• After navigating multiple corridors guarded by armed personnel in yellow shirts, the narrator arrives at a round room that contrasts sharply with the previous spaces.

Meeting Mr. Gerber

• Upon entering a large room, the narrator meets Mr. Gerber, who is described as polite yet distant, sitting far behind his desk.

• Gerber's demeanor shifts to friendliness as he expresses happiness to see the narrator and invites him to sit down.

Discussion of Slogans

• The conversation turns serious when the narrator anticipates discussing controversial slogans related to the Third Reich that he was expected to incorporate into his work.

• Gerber mentions that Safur has seen the narrator's films and believes he can contribute significantly to national socialist cinema.

Personal Reflections

• Feeling anxious about his heritage—his mother being Jewish—the narrator reflects on how this could impact his safety and future in Germany.

• Despite expressing gratitude for the opportunity presented by Gerber, he fears potential repercussions due to his background.

Creative Manipulation

• Gerber suggests altering a scene in one of the films involving a professor's demise at the hands of an enraged audience; although initially skeptical, the narrator agrees outwardly while internally dissenting.

• As time passes during their discussion, anxiety builds within the narrator regarding his escape plans from Germany.

Escape Plan Formulation

• After their meeting concludes with promises of follow-up communication from Gerber, the narrator realizes it’s too late to access funds at the bank before closing hours.

• He instructs his servant Hans to prepare for an imminent departure from Germany due to growing concerns over job security amidst rising political tensions.

Tension Escalation

• Observing Nazis surrounding his home prompts immediate action; he arranges for Hans to help him escape via train while also considering personal safety measures for loved ones.

Final Preparations

• Before leaving, he discusses taking jewelry out of Germany with his partner due to her past connections; she agrees and provides some items for safekeeping.

Departure Anxiety

• On reaching the train station just in time for departure amid heightened nerves from Hans about their situation; they finalize arrangements for future communication after escaping.

Journey Through Fear and Fate

The Tension of Travel

• The speaker describes a tense moment while traveling, highlighting the lengthy wait at Herabisto before entering Belgium, which included luggage inspections by authorities.

• As the inspection occurs, the speaker recalls hearing officials demanding to "Open up. Pass control," creating an atmosphere of anxiety and uncertainty.

• To avoid detection, the speaker pretends to sleep by snoring, reflecting on advice given to actors about immersing themselves in their roles during performances.

A Brush with Fate

• The speaker expresses a sense of foreboding as they anticipate being arrested shortly after leaving for Belgium but is surprised when no one comes for them.

• Reflecting on this experience, the speaker contemplates fate's role in life decisions and how it contrasts with personal agency; initially believing in fate has shifted towards viewing it as something shaped by individual actions.

Reflections on Film and Ethics

• The discussion transitions to filmmaking, where the speaker mentions their early belief in fate influencing their work and how later films address themes of moral choices.

• They reference societal issues like lynching depicted in their film "Fury," acknowledging that while they can highlight these evils, they cannot change them directly.

Religion and Ethics

• The speaker critiques educational systems that do not teach religion, arguing that ethics are often learned through religious teachings despite not identifying as religious themselves.

Challenges of Communication

• Expressing discomfort with interviews, the speaker argues that if a director needs to explain their film through interviews rather than its content alone conveying meaning, it indicates poor direction.