Werner Herzog on Fans, Fanaticism, and Baby Foxes

Werner Herzog has long been a provocateur, delighting in exploring the darker corners of human experience and the natural world. His latest film, Bucking Fastard, is no exception – a tale of two sisters who embark on a quixotic quest that defies both their family’s conventions and societal norms.

In recent interviews, Herzog has revealed a more unexpected side: one beset by anxiety about being labeled “trendy” or “politically correct.” His discomfort with terms like neurodivergence and ADHD is telling – not just because it suggests he’s out of touch with contemporary sensibilities, but also because it reveals a deeper tension between his artistic vision and the expectations of modern audiences.

For Herzog, genius and madness have always walked hand in hand. His characters often inhabit the fringes, driven by obsessions that border on monomania. In Bucking Fastard, the Holbrooke sisters are no exception – their all-consuming focus on digging a tunnel connecting County Sligo to the Orkneys is both absurd and strangely compelling.

Herzog’s aversion to being seen as “trendy” takes on added significance when contrasted with his own use of avant-garde language. He’s always been adept at finding new ways to describe the sublime – whether it’s the “landscape of the soul” or the “imagination.” However, when it comes to labeling his characters’ behavior, he suddenly becomes allergic to what he perceives as empty buzzwords.

This dichotomy is characteristic of Herzog’s conflicted relationship with modernity. On one hand, he’s a pioneer who’s consistently pushed boundaries and challenged conventional wisdom. On the other hand, he often expresses nostalgia for a bygone era – one that valued artistic expression over commercial appeal. His recent Instagram account serves as a case in point: while it may seem like an attempt to connect with younger audiences on his own terms, it also represents an effort to control his own narrative.

The irony of Herzog’s situation should be clear to anyone familiar with his career. He’s long been associated with the art-house crowd – those who prize intellectualism over mainstream appeal. However, as he approaches 80, he appears to be discovering a new audience: one that’s not just interested in his films but also in his personal life.

Bucking Fastard can be seen as a turning point for Herzog – a film that marks both his continued innovation and his growing irrelevance. The fact that he’s still winning over young audiences with his old-fashioned sensibilities is a testament to the enduring power of his art. However, it also raises questions about what role he’ll play in shaping the future of cinema – and whether his increasing reliance on nostalgia will ultimately become a liability.

As Herzog himself put it, “I’m not a control freak.” But as his Instagram account and Bucking Fastard’s reception demonstrate, he’s increasingly aware that he needs to adapt to changing times. The question is: how far will he go in embracing the present – and what will be the cost of his anachronistic anxiety?