In conversation with his friend and fellow filmmaker Michael Almereyda, Wim Wenders opened up about his lifelong photography practice.
, wearing a dusted pinstriped suit, gazes ahead as the desert looms large behind him. It is a testament to not only the enduring influence of director, one of the greatest filmmakers of the 20th century, but his intuitive sense of composition, which has resulted in some of the most remarkable images ever committed to celluloid.
WENDERS: I’m in a hotel where I first stayed in 1973. The Sunset Marquee was not fancy at the time. It was totally rock and roll and all the bands stayed here—The Ramones, The Clash. And now they made it quite fancy. WENDERS: It is a different impulse, and I only learned that much, much later. I don’t know if you become a photographer when you take pictures consciously or when you start printing them. I started to take photography more seriously when I was in Tokyo with Ed Lachman shooting. On the last day of shooting, there was a used camera store close to our hotel and they had a Plaubel Makina. It cost more than a thousand dollars, even if it was a historic camera from the sixties.
WENDERS: Robby’s Polaroids are more photography. You can see it in his framing, and you can also see that he took lots of pictures until he had it right. That I didn’t really do. I love his Polaroids, I own a couple because I bought some and Robby gave me some at some point.WENDERS: Oh yes, there’s a very precious little book that I love. They are products on their own, not means to get to a movie.
ALMEREYDA: At the Picasso exhibition I saw today at the Pompidou there were three very beautiful drawings that you couldn’t photograph. It’s a mysterious thing that we got so used to being able to absorb and claim pictures. They’re a record of impermanence, because they can last longer than the thing they’re recording.ALMEREYDA: They’re kind of fragile, as are movies.
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