Talking Herzog
Ogling.

Beim House Next Door sprechen Jason Bellamy und Ed Howard sehr lang und sehr kenntnisreich über das Werk Werner Herzogs. Ein bisschen Redigat (vulgo: Kürzen) hätte nicht geschadet, aber vieles, was mir zentral scheint in diesem höchst eigentümlichen Oeuvre, wird verhandelt. Zum Beispiel die Haltung von Herzog bzw. seiner Filme zu ihren Figuren/Objekten:

JB: That's all very well said, and I don't disagree. And yet there's a pattern to his selective silence that isn't so flattering. If there's one thing that can get Herzog to shut up, it's a freak show: the exorcist in Bells From the Deep, the dramatically mad Klaus Kinski in Aguirre or Fitzcarraldo, the spiritual Herzog twin Dieter Dengler inLittle Dieter Needs To Fly, or the lip-trumpeting Kokol in Land of Silence and Darkness. I could go on, but you get the point. In those cases, Herzog realizes that he can't possibly embellish the image itself with his own words — unless he resorts to writing his subjects' words for them, which he sometimes does — and so he lets his camera ogle.
...
EH: See, I think Herzog is respectful of and fascinated by his subjects. In Encounters at the End of the World, Herzog sees these people as kindred spirits, people like him who have traveled the world and done unusual things simply because they wanted to. When he says about that one woman, "her story goes on forever," I don't read it as contempt — she'd just been chronicling a long list of terrible things that had happened to her, and Herzog's voiceover underlines the fact that she'd suffered a great deal. He feels sympathy for her, especially since he'd suffered similar trials and mishaps during his own travels in Africa.