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Episode 2 · 2 years ago

Klaus Kinski Played Nosferatu in Two Films and the Second is Pure Trash

ABOUT THIS EPISODE

AKA: The Klaus Kinski episode. 


Kinski is one of cinema's most controversial icons, and left us with a set of legendary films, especially his set of 5 collaborations with Werner Herzog, but also a long, long line of B- and C-grade paycheck films.


In this episode we will dissect his career through two films, one representing his highest achievements, one representing his lowest gutter trash, and he just happens to be playing the very same character in both of them: Nosferatu (perhaps his most iconic role).

Hello everyone, and welcome to talking images, the officially unofficial podcast of the ICM forum. Today's episode is going to be about Klaus Kinski. More specifically, Claus Kinski has seen through his most notable role, not for all to. Are All that many people don't know he actually reprised. That's right, Claus Kinski play those for all to in two movies, originals routed by her soup and a complete and utter disaster called Mostrat in Venice. You'll start off the episode by simply giving our oral impression of Kinsky. Will talk through this duology, if you will, which really has nothing to do with each other, and then we'll finish off with how these two films, in contrast to each other, perfectly symbolize this Klaus Kinski's journey as an actor and overall career. Joining me today are, for Wonderful Co host, Cleman Aka Clementary, on the Forum, Tom Aka film, Bunta on the Forum, Gary Aka or mast and finally, and for the Very First Time, Solomon, Aka soul. So let me just start by asking all of you what does Klaus Kinski mean to you, and we'll start with CLEMM Kinski is not an actor and particularly familiar wins. I've seen him, obviously in the same stores with Arizog so I, giar A, Fitz Caerando and Aspara to Elis. Seems to me like an interesting actor and director, someone who, well, we appreciate better the less we know of him personally, I think. But he had a very intense way of living in general, and I think you can find this intensity and energy in the party was playing. It was really not very versatile actor, I would say, but he definitely made an impression in every party lay. I think he is the type of actors I would definitely see more films with, only because he is in because I know that, no matter what the film I think you always adds something extra to to the movie, No matter how bad it is. That, as will talk about later on, excellent. Thank you. So for me, I just like to briefly touch upon our first encountered US can skip on the screen, and this links in nicely with first podcast episode where we all discussed our obsession with the IMDB top to fifty and how that shade viewing habit. So when I was working on the IMDB top two hundred and fifty, I gave a rough of God was lurking around near the bottom of the list and I'd already enjoyed in his zugs documentary grizzly man and rescue dawn, so I took a punt on the his Ug can skip box set, which features all the films they made gather, and I was instantly enamored. I can skis remarkable performances. Off Been in roles of men that are driven to the very brink of their own insanity. He's a larger than life Shin it's actor and with a distinctive his parents and, as Clem said, I think he brings a unique perspective to all of his films that makes them so good to watch, whether it is one way, every where he is the top of his game, or perhaps one of the lesser works where he's kind of putting in a more questionable performance. Thank you that. Gary Kinski is certainly not where you would consider a conventionally handsome leading man. He's a very hardlooking in my opinion. His forehead you could sell ad space on, but he is a compelling when he's on the screen. You can't take your eyes off him. He always has also an air of danger, like he's barely in control and you just don't know what will happen next. Short with three thank you, Garry. And finally, follow Kinski, a pretty much known as an actor, I guess, for fifteen to twenty years. Probably actually first came about across him as...

...no spato in the seven is Herzog film is actually watched, I think, with an Arroser of seeing the original Murn or silent film. Yes, I was a bit the pointed with that one at the time, so I wanted to see this hers Lo one which everyone was talking about, although actually I think the first film I've seen with him a look is actually Dr Chavago, which I've seen a couple of times. I've just looked at his character and then I can't call who he was in there. But in general he's an interesting and very eccentric actor who, yeah, which everybody said, that, always plays really crazy and sort of like borderline the US in his mind characters, and I'm actually saying quite a few interesting but genre films from them all the years where he plays, you know, eccentric doctors and scientists and stuff like that, which we might be able to get into later. Something pretty interesting there. So which is that? Kinsky in quite a few of his films disappear and it's really strange thing because when we think off Kinsky, you know, interspace, overall persona, and we think of his first our roles, he is this stand out artist that's greater than life, but if you look at his especially early movies, like Dr Sevaco, you don't remember who we was in that movie. And before this podcast I looked up how many films I had seen in which Kinski in some way was associated and it was about twenty four. And before this I thought I'd probably seen ten, maybe less, and it didn't quite make sense to me. So I started looking at these rules and there's even several roles in famous American films and he's just not there, like I think the earliest role had actually seen him in was decision before dawn, in which his role is whining soldier like nally, just the wine is soldier on the sidelines, and it's just really interesting that that's where he came from and that he very slowly, I supposed, Don worked up this power, this charisma. Is the enigma of himself as his grand actoring grand performer. Just interesting. What you mentioned about the early roles like decision before done, because I've got that mind. Bilis is something I've seen, but also apparently he was in a pnocissist or ANA. Some looking at the wrong credits, apparently had a role in that which is not in forty seven. It was a dubbing role, so I'm not sure if he dubbed that the German or how that was credited. But yeah, he actually has three listings before his actual acting to restarted as a dumber. Really interesting. I think that Clem and I both watch the documentary my best fee and Byre her sog, with was done after Kinski's death and seemed to be herself trying to make sense of the madness that was his relationship with Kinsky which, as he admits himself several times, led to again doing that threats again with wish on both men's part to murder each other. And one of the things that I thought was most interesting there was that Kinsky and her sog actually lived together before either one in any way became famous, and some of the stories that herself tell her simply shocking. It gives a lot of insight into Kinski as a person. Do you want to talk a little bit about that, Clem. Yeah, sure, yeah, I agree with you. That was a interesting fact. I didn't know it. I here before that Kinski and Air Zoga lived together. That was obviously the first time they met each other and I remember Air Zog saying how much impressed and fascinated he was by by Kinski and how strange and hissterical he could some time behave. And if I recall correctly, their next meeting was when Air Zog was writing a gre and sort of Kinsky for the main, main part, and Kinski calls also get three am, making some strange noises and grunts and stuff like that, and after...

...half an hour also finally figures out that it means that kinskis interested overall, I think. Yeah, I also wanted to, as you say, a try to look back at his relationship with him. The documentary features, obviously a lot of stories about Kinsky going mad. They also features some images and stories about Kinsky being well, nice and nice and caring, I would say almost, which is something I never thought pressive all of him, I would have to say. But so it was interesting to see that as well, and also our Kinsky got into air ZOG's mind and how he mentions that he wanted to hurder him fire bomb is house, how he hesitated where the Indians on during the shooting of its Caeraldo, when the Indians proposed to him to kill Kinsky for him, and he said it refuse, but later on he regretted declining that offer. So yeah, over, it was an interesting documentary, not really trying to figure out how Kinsky got this way, but just showing part of his life. I think two of the stories that surprised me the mouth were the first one, which was that Kinsky would practice for hours every single day mimmicking taking in very specific ways, you know, in many ways mimicking the actors on screen, so that he could become this great classic German actor, which didn't really happen, and the second one being how, in his fits and Frenzies, would lock himself in the bathroom is as a break the entire apartment, to eat everyone around him terribly, to the point that you would think that this person would be thrown out, be disregarded, be arrested by the police, but it didn't happens because something in him as have had the CARRI smarty power to make people care for him, respect him enough to support him, and that speaks a lot to what kind of strange madness Kinsky has. I think, to other stories as well, from acquire about how he, at two different points, specifically harmed his colleagues. Her so interviewed one extra who kinsky literally scarred for life. He had taken a machete and hit him in the hand and the only thing that saved a man's life was the helmet which was broken and put the scar into his face, but it's never healed. And the second one was when a group of extras are playing cars and a ten and without any kind of self control, kings shot several bullets into their tent, cut in off the finger of one of them and he didn't even try not to hit them. Is simply shot through the side of the ten. And these are the kinds of acts that could easily have murdered someone, could easily have drawn him in jail. And the strange thing is that this was kinskin her socks very first collaboration hers. I went from knowing Kinsky as a mad roommate that he didn't necessarily have a lot of harmed memories. Off it didn't seem like they were anyway close back then to wanting to murder him, to seeing him almost murder extras working on this film, to actually casting him again. And he cast him again four times, and the second time was in not for all to the film we are discussing today and which in some way seems to be the film which cost at least amount of drama between them, which is interesting. So it's really interesting to just look at his role of nose raw do. This seemed to be her socks to this point. Biggest film or the greater shops for me was that it was actually shot in English as well, all the same actors performing the same lines both in German and in English. It seemed to have a much grander scope and while it in many ways kept her songs style, did seem to try to be slightly more accessible to mainstream audiences as well. And I would like to starting in the same order as before, with Clem to Tom to Garry to soul, just talk a little bit about your experiences went...

...not that I'll do, and how you felt that Kinsky personified the rule. Well, I just remember Kinski in the film. I remember him as being very quiet. Obviously you know drugtronize, not very extentric character. That's no IB take. Normally he doesn't run around in the street and stuff like that. So Twas on trench, let's say, to see King Ski acting this kind of character. The remake of not for are to is obviously a bald move from his our can kinsky. It's the original is such a well renowned classic of cinema that it's, you know, a brave step to put your own stamp on something that's so well regarded among cinephiles. I don't think that his odds vision is perhaps as memorable as the original, but Kinski's appearance in the film is obviously one of their high points. For me, he doesn't cut a more imposing and intimidating figure than match acted as not to. I think to talk about this remake we first need to talk about how Herzog had such great respect for the One thousand nine hundred and twenty two urnw version of Nas for O to, and plot wise he really kept very faithful to the original until the very end, and I won't spoiler for anyone who may not have seen it recently or at all. I rewatched it this week and it was the first time in about in years or so, and some things that struck me about it. The cinematography was just gorgeous. As far as Kinsky, his makeup quite mimicked Max t rex in the original, but he was much less menacing to me than Shrek. He had a sadness about him and over all his acting in the entire state of the film I found very languid and understated, and even the music by Wagner, which we usually think I was being bombastic. In this movie it was just very, very quiet and just flowed along under the acting. The dottwell of the point, which is this sadness that Kinsky seemed embody. When you first see him. It's almost as if he has tears in his eyes. Just feel the pain of this very existence. It's a really strange and surprising but real and it's also strange to see Kinsky appeared so vulnerable in such an imposing role, just from memory, for Mettrick did an original which was a whole lot of menace. Like other people have already said, it's a very iconic film. For the arms shadow of Nosparrato on the wall, which Murner did, which is effective and door mimic by filmmakers these days. Yeah, I think we did see a bit more of something human in the one thousand nine hundred and seventy nine person by her zog. Regarding also remain I would like to read a part of the directory of Word Seen In our book on Germany, which had a review of Al Zag's nostre to where it says that's the air. Zog At claimed that the very act of remaking nose ferret was a way to reclaim the cultural legitimacy for Germans in him out that he felt had been lost since its seizure of power in one thousand nine hundred and thirty three. And it goes on saying that, apart from the tribute to murder, it also had the music of Wagner, as as cary said, and some landscapes that could remind paintings by Jasper David Frederich in the scene of Archer's journey to drag or, as Canton. So in a way it was also so remaking this film was maybe, before her Zog, not only a way to just remake a simply a film, but also, to, as it says, reclaim part of Germans history that he felt had been lost because of what happened during World War I and sure teas and forties. The interesting point as well, because Wagner was, of course Hitler's very favorite composer. Many people on know this, but hit there would every single year go to the bout their festival. It really seems like first in that case might want to reclaim rogner for Germany as well,...

...and clean same of Hler. This is how I feel as well. I don't really remember Wagner's music on the film, I have to say, but I also yeah, heard that it'll really liked wagner. So it was, the say in the book, probably just a way to do, Jessie judge, reclaim really big influential figures of German art history, where it being music, painting, films everything in between, and also the German expressionist movement from the s and stuff like that. Well just mentioned. I saw an interesting documentary, one called the architecture of doom, which was all about Hitler's obsession with our Wagner and music and art and everything. Documentary wasn't entirely convincing with the argument was putting forward that the Germans just wanted to create like perfect art which is while they went about, when about, you know, all the stuff of the gas chambers and everything. But it was just an interesting film about Laura and art and Wagner and of course, if you want to get a greater sense of Hitler's legacy over Germany in a very iconoclastic way, you should obviously see her so os contemporary that wants you the burgs it literalogy, as well as his five hour documentary of Benever Wagnet, which really to get a comment on this legacy of wagnet and Hitler as one and Germany's history as well. But to lead this back to move it all do, I think gary point out a few things that were quite interesting at the first one is that pr SOx movie, especially the first half, is very beautiful. It's very serene. This kind of light, Wonderful Cinematography Aid in light, it seems such departure from the One thousand nine hundred and twenty two was without do. It's very interesting to me, at least, if you want to compare cinematography one thus nine hundred and twenty two version. I may have known ness already, but I rediscovered it this week. The film producers of the mirnw film were sued by Bram Stoker's estate and they were told to destroy all copies of the film. One copy apparently had made it to the United States where the copyright had expired. So all copies that we have of that movie are have been duped basically off another copy. So that certainly didn't help the the cinematography of the original. But a couple things to Chris and I both remarked on it this week when we were watching the shots of Kinski with only his head lit, we're just very striking. And when Harker was trekking his way up to nos ARRATU's castle, going along this trail beside the running stream and climbing up the mountain, those scenes were just gorgeous. I think what made Kinskis but right similar to tracks in the way is that they both presend the this more or less unwilling form of do. They both seemed not necessarily want to do what they were doing, but drawn by a kind of naturalistic and the way that kids in many ways different here, in fact, if that he again on this seemed to be sorry for what they was doing. He get to this, seemed to take all of this pain into his heart but really be possessed to do what he was doing anyway race, and you can see this throughout the film, including in the final shot, which I don't, for to spoil for anyone who hasn't seen as rot to yet. There's this extreme sense of again, melancholy, suffering, despair and remorse which I think he really brings the forefront and but raised so incredibly well. So I think that I agree on the the excellent cinematography and kind of to me, adds an almost fairy tale quality to the film, which is perhaps in from it you wouldn't have seen any original but obviously as its progresses, as...

...you said, it becomes more melancholic and the themes of despair and suffering come to the forefront, and I suppose this in many ways ties us over into the sequel, the unofficial, or self say the officially unofficial sequel, where Kinski does not portray any of this. There is no melancholy, there's no sense of remorse. In fact it's not even the same. Not Food out to it was intended to be. He was intended to look the same way, but on the very day of arrival at the s at Chinsky refused to put on the makeup. He just didn't care. No, that might simply be because he had read the script. He knew that what he was about to partake in was complete than after rubbish, to put it mild lip. But he refused. The only two good thing, if any way, remain the same, or the teeth and his fingernails. That's essentially it. The bold, pitiful figure is turned into a long haired, menacing monster that, I would say, far more resembles the reshion you might have of Mr High than the pitiful figure of herst off. Not For all to so let's just do around table again that this gives them early impressions off not at all. Do it in Venn this as you yeah, as you mentioned Chris. Physically Kingski doesn't resemble no speret to he played in airs of films. He has longer, no make jub physic physically looks nothing like him. But also it seems that things that are usually associated with vampires has been study thrown out. This time. He has a reflection, sunlight doesn't kill him anymore. You can see in some scenes he's just walking around in Venice, just just like that. It seems like they wanted to just do a sick featuring kinsky, but didn't necessarily want it to make it Drusula film or not fare to film and just took Kinsky, who was at the end of his life so proby didn't cared much except for his film by Aninni that he really was obsessed with at the time. I think we discuss it maybe a bit more later on, but yeah, all are all the film is. It's a fun watch, not gonna lie. It's a complete train right. It doesn't know direction. We don't know where the film is going. The stories not really understandable and you can tell that. I think Gerry mentioned when we were watching it that you can easily tell the film at like four or five directors, because all the different way of filming as no correlation, are not very different from from one another. If I recall correctly, Chris, you said that this is where all the budjects went, because a lot, because two or treat film directors actually left, left the shooting without doing any scene, but like taking them full salary, which also probably explain why the film looks so cheap and completely out of budget. I'm not sure if that's where the entire budget went, but the film was almost over verge before that started. There were five directors involved and four of them were go let go because of this agreements with the producer and also, adding slightly to your note about Kinsky's Paganini Obsession, which is a project that he had been trying to get made for years, and then been also trying to push herself to the wreck. The only reason why Kidsky ever agree to participate in this film in the first place of because the producer of those that Alto in vent this is the producer of Tanganini, and Kinski needed to make this film for him in order to get the funding for Paganini. So I agree with a lot of water cleming and Chris...

...have said. This was a huge step down in terms of quality. Kinsky seems absent for most of the film. He just going through the motions. He doesn't really bring anything to the film. Now there are a few positives. I still had a good time with it. It's heavy on atmosphere. I thought there was a great use of the Venice setting. The grandiose, imposing architecture kind of adds to the Gothic ambient, and I also thought that there was a fascinating soundtrack. It veers between playful Ennio morricone sounding instrumentals to eat evocative synthesize a lady music of Fangelis. These styles don't really work in harmony, kind of jarring, but taken an isolation, they both bring some interesting emotional depth to the table in a film that is kind of devoid of emotion other than the the music. One comparison that I would like to make there is, I'd kind of view it from my perspective, as what I'd call it a hot mess, kind of similar to the exorcist. To so it's renowned for its kind of a muddled attempt. It can continuation of a well regarded film, but if you can relish the kind of trashy aspects of the film, you're going to get a lot of enjoyment out of it, and in this respect at least, I had to quite a bit of funt watching it. This film is similar to the original only because it has the word nos for a to in the title. It was a terrible piece of garbage. Kinski didn't get the makeup. Honestly, he didn't need it. He looked repellent without any makeup. He was only sixty two, but a life of hard living really shows on his face. He is still commanding presents when he is on the screen, but it really seemed like he was just mailing this in for a payday. I didn't count, but I doubt he had more than ten years of dialog in the movie. And I just want to tack onto what Clem said about plot wise, this film had none of the normal tropes that we think of in vampire movies. Across didn't affect him. He just grabbed one out of a hand and crumpled it up. A steak through the heart doesn't kill him and for some reason this vampire only sleeps twenty four hours every twenty four days. So I gave it a two out of ten, and I think that may have been quite generous. It's really interesting hearing everybody talk about this film, because it end up watching it, but I've got it, son of vhist it's one of those films I managed to buy when your libraries were jobbing out all they VHS tights when they converted to DVD's. But yeah, just promote everybody's saying. It sounds a lot like he's feeless. Vampire killers. You know with all this vampire stuff not working, but obviously and played as a comedy in the film. So maybe not as interesting as that. Just looking at the Chabot or whatever is just interesting. It's got to gigantic picture of Kinsky standing there looking either with protruded teeth big layers. It says, music by than Gelis, who was obvious, I guess, very big in the s after I'd run around the chariots of fire, so I was probably a big sale point. A big picture of Christopher Proma and John Pleasant stand they are bottom. Yeah, I don't know. It just looks interesting based on the Cabra, which is probably why I grabbed the one I saw for two dollars whatever selex randel back in the day. Yeah, even with all these two other chair writings or whatever, I'm actually really intrigued to put down. And what should I guess? Maybe next time we have an Italian challenge or something else that comes up in the message boards. There is something about watching a bad film, especially if it has some kind of, would say, social narrative attached to anything else. In this case. Only reason why is we're after invent. This is interesting, where all we're talking about is because it pretends to be messioned off the roll to. That's the only reason. Essentially, the piety of not rock to, which was amazing me, is red calm in this film, because...

...there's one or two lines specifically referring to the plot of the first movie, one or two lines, and the essentially go like this, I thought you died at this other point in time and the other person comes back. We don't know, that might just be legend. And with that everything that happened the previous film is gone. Those Rot do is in a completely different location, is a completely different character. It looks completely different as well and he has a completely new path. None of this has any relation to personastraltos ARC to want the character represent to anything we have seen before, and it is really just a trashy vampire movie where they at some points try to sept a few drops and it doesn't manage to do any of it. I would also like to jump on the fact that this film, like you said, managed to get to relatively big stars. Me, Christopher Plumber is essentially the lead, or the Nice lead, the vampire killer, the replacement of unhealthy if you will, and it don't do anything with him and all pleasant, you don't do anything with him either. It seemed to be there for no real reason. They're not even utilized in the final climax, and I'm not even word to spoil it, because I can do need do not believe anyone will care. The Sour Way of character of Christopher plomer hands or so is quite unbelievable, so I won't spoil it, but I remember it's a left us scratching our heads for a few minutes trying to figure out what what just happened, which I think is a good summary of the film in general. Like why and why was this? is saying, why was this done this way and by why? I can not seat you, creatory chains out of nowhere and yeah, I don't know. Overall it's big question, like why why was this? A saying, let's not blow the film. Well, I think what's really interesting with not even interesting, but it's interesting that they care to do it. Christopher plover is brought in as this essentially expert vampire killer. This is how the entire movie opens. With all of his character. He meets the people who are in danger's guided through the story. He finds the presumed too, is in many ways, our protagonist through the early part of the film. However, as those were all to becomes a slightly bigger presence. We get a bit for call back in the first movie, at least in one way, which is that we open up with one protagonist which becomes completely diminished as the movie continues. I'm talking, of course, of Bruno guns as Parker in the first film, and in this film that character is Christopher Plumber. But towards the end Christopher plumber is completely irrelevant. He has one confrontation with those for all to just one and, like Clem said, we're just sitting there thinking what was going on. Calm if you want to talk about Kinsky's superpowers. Part of the film that surprised me was when Kinsky and as not rare to have the power to completely stop bullet, and there is some very strange effects used that we're quite laughable, but I thought we're enjoyable at the same time. One aspect that I thought was notable was one brilliant death see in tru went. Spoil for anyone who is going to watch the film. But then it kind of baffled me how, a bit later on in the film, the same death scene was recycled, just using a different character, and you know, for horror film you like to see a bit of variety in these kind of scenes. So it just felt a bit at a letdown that they were going with the same idea twice. That and the film really just is a bit of a Slasher, isn't it? It's really do we have a set of characters we could not care about to introduce in the first view of themes and then they're killed off one by one and honestly we don't know them and we don't care. Garry, they want...

...to wrap it up, so I think that just as a bit of a wrap up. I think that it's clear that her Zog and Kinski brought the best out of each other. I think that a gary and Fitzgeraldo, along with NAS brought to are the best work that both of them did, and they had a love hate relationships as well documented, but I don't think either one would have been as great as they are without the other. Incredibly true. They also think that these two roles, in many ways, like we started off, represent Kinsky and his career journey and does the type of filthy would do. He would do these incredibly powerful films with her dog, and it will occasionally do a great movie with someone else. What this big movies are may very in depending on your opinion, but for the most part he was acting in relatively trashy be movies. If you look at his filmography, and I'm the beat, there are hundred and thirty seven items there. The majority of those items are what would probably be considered be or se level movies. That is again strange for someone who film history remembers so fondly, and just two mirror what cals are there. I think that's almost exclusively because of his relationship with earzog and the films in made together. Yeah, BOP to claim under tooments all. Yeah, as you said, Chris, I think it's a good thing we picked these two films, Nos Fara to and it's a sequel, let's say, because the three embodies what Kinski was able to do, like acting great films like no Sarah to buy Al Zog and at the same time just acting this be or see movies like Nos Fara to, the sequel. I think I read somewhere to quote, where Kinski said that he always picked the films that made him the more money in the less time. I don't really know how much he made from all those films, but I think overall he has a very interesting filmography, very surprising one. On the one end, they acted in films directed by Sir Julian Air Zog. Obviously he also had a part in Doctor Chicago, who he also playing the grand celens show. So he acted in film that were were respected and at the same time he acted in about six or seven films. I think by just was Franco he acted in. This is not right to sequary. Also made a lot of the movie western type of things. So I think it's a very interesting filmography and you don't really know what to expect from him, that's say, you don't really know where he's going next and the type of feeling we will be acting on later on. And I think for those who, I be movie type of films, I'm sure he has a fimo graphy that is very much worth explorer, as Chris and Klem of both mentioned. I think that the two nostri are too films that Kink ski appeared in do offer a great reflection of his career legacy. He is from unforgettable performances in definitive films that are widely regarded amongst some of the all time greats, to forgettable fair where potentially he could just be appearing for a pay check. I'd like to make a loose comparison to a actor who's currently working today. Both are these actors featured in successful remakes of being a hit sock. So of course you've got Claus Kingski, who appeared in not for are to, but we also have Nicolas Cage, who appeared in His odd vision of Lieutenant. Now, for me, both of these actors appear in some excellent films where they're at the top of the game, but there doesn't seem to be any middle ground. They're either at the top of the game or they're kind of stumbling through, just just going through a pay check. And for me, Klaus can skik is one of the all time great actors, whether he's in a film where he's putting forward a great performance or bad performance, I just find him watchable. There's something and that he brings to all the the films that makes them really entertain it. It's interesting discussion. It's interesting hereby talk...

...about Kinski and obviously love disparaging a lot of the films that he did towards the end of his career. I'd as a genre fat I'm really into, you know, sci Fi, horror, fantasy films. Made quite a few interesting ones like later in his turn his career. So I'm just thinking about things like avy cord all space, which is sort of like a date of Latin, up date forel like Mr Brooks, Kevin costols of like an updaten and like a doctor, likesning murders, which is a really great film. But you know, he's quite decent in that. He's also did some interesting stuff the s. The film called I've span which I watch for the Dutch challenge last year, which is actually again really interesting, playing a science or doctor character. was He in a billy wilder's last film, Buddy Buddy, playing a sex doctorns bit easy, eccentric, as you usually as. So I think I've really enjoyed, I guess, a majority of years work in B and C grade films, towards the end, of course, also the stuff and the begin the Western's like heat, the grand silence, excellent in that. Also recently saw the ruthless for about gold prospectors trying to get gold and o them controlst each other, because I're going to still each other's gold, but then it have somebody else doesn't carry the gold back. So I was really interesting film and really interesting performance. Always found him quite resting and entertained to watch, even with some of the list of films towards in the this career. I would also really like to shout out a boulevard general by a director called Demiano Damiani, which is probably one of the more interesting speget the vestors as well in kids. He did so many of them, some of them fantastic, like the great silence, and some of them just not that interesting. And again that ties back into the type of roles Kinsky would do. He would get that quick paycheck, he would be in essentially anything that was offered to him, and that's how he spent his life. However, and I think we've all been referencing this route, at the very end of his life, or even in the last decade, he became obsessed with historical character of Paganini. He had written the script himself. He had begged her SOG consistently to direct it, but her sog found it unfilmable. I think it's worth noting that the last collaboration with Herzog, who be abadded, that was shot the very same year as mospit out to in Vennice, and in both of these cases Kinsky's mind was on the role of Paganini. What her sock said, in my best feeling, was that at the very last day of the WHO Brabanda shot, Kinsky already was Taganinni, a rolly would not be able to quite realize eyes for another two years and a film, the first one he directed himself, which has essentially become completely forgotten, completely ignored and by most of the people who do end up seeing it, dismiss as softcore porn. And that was also the second last film Kinsky ever made. He died just a few years later, and I think this sums up a very strange life and interesting life and interesting career in which you see his deterioration from an actually quite good looking, though slightly oddlooking, bit actor to a monster. Like Gary said previously, Kinsky did not need any makeup, for not throughout do in Venice. He already looked disturbing, he already looked menacing. He was, in many ways not that all too or this more sin, disturbed and not very good, not for at to and if I know them, Rus, but just have a shout out to me. Be...

Code Operations, thunderbout the Kinski did in the S, which is again interesting. Film is sort of like eating all these terrors. So another film to put out there. This is varied output as an actor. Wear it everyone. Thank you all for joining in and all our listeners. You have been listening to talking images. You're officially unofficial podcast of the ICM forum. Thank you for listening and join us again soon.

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