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	An Interview with WIM WENDERS for 'The End Of Violence' (Celluloid) (Site not responding. Last check: 2007-10-21)
		Wim Wenders is to German cinema what Federico Fellini was to Italian cinema; a genius with the vision of a decadent and lusty Titan.
		Wenders has always had the ability to touch you in a way that is complex and surprising.
		Wim Wenders has changed many people's lives, he's given us the courage and belief that change is always possible and that the man or woman who grasps redemption regardless of his/her loss of innocence is truly the most human of all.
	www.thei.aust.com /film97/cellinwenders.html (1457 words)

	German Director Wim Wenders > The German-Hollywood Connection (Site not responding. Last check: 2007-10-21)
		Wenders is perhaps best known for his lyrical, philosophical tale of angels in Berlin, Wings of Desire/Der Himmel über Berlin (1987)—a film that was remade by Hollywood as City of Angels (1998) and set in—where else?—Los Angeles.
		Wenders wrote the screenplay for Wings of Desire with the Austrian writer and dramatist Peter Handke.
		Wenders' longtime interest in music (he has a huge CD collection, but prefers the sound of the old vinyl records) can be seen in his homage to Cuban music in the documentary Buena Vista Social Club (1999).
	www.germanhollywood.com /wenders.html (1053 words)

	Wim Wenders \| Biography (born 1945)
		Wenders studied medicine, philisophy, and painting, and it was while he was taking etching classes in Paris in 1965-66 that he discovered the Cinematheque.
		The use of Highsmith/Hitchcock motifs, the antagonistic casting of Bruno Ganz and Dennis Hopper, the rogues' gallery of movie directors in small parts, the variety of bloody sunset reds, and the jaunty pleasure with set-piece murders shot through with New Wave spontaneity, all made for a film of high enjoyment.
		Wenders is forever a wanderer, and seemingly set upon his own furious ups and downs.
	www.leninimports.com /wim_wenders.html (1113 words)

	Wim Wenders: Art in Motion \| Culture & Lifestyle \| Deutsche Welle \|
		Wim Wenders never has much time, and at the moment the time he does have is particularly valuable.
		Wim Wenders doesn’t limit himself to the world of purely aesthetic concerns and isn’t one to shy away from politics, especially when decisions are made that he feels are wrong.
		Time is precious for Wim Wenders, Still, he likes to chat, about just about anything—about how painful it is that his soccer team Fortuna Düsseldorf is doing so badly, about how much he liked the film “Halbe Treppe,” about what kind of advice Dennis Hopper once gave him regarding interviews.
	www.dw-world.de /english/0,3367,1441_A_677958_1_A,00.html (798 words)

	Wim Wenders (Site not responding. Last check: 2007-10-21)
		Wilhelm Ernst Wenders was born in Düsseldorf, Aug. 14, 1945.
		Wenders, like Herzog, stresses the visual, delegates the story to a secondary level, contemplates landscapes and cityscapes.
		Wenders' films have often been called 'films of the desiring gaze', where the camera is an instrument of affection (that is, by the critics who like his films).
	web.uvic.ca /geru/439/wenders.html (463 words)

	Wim Wenders (Site not responding. Last check: 2007-10-21)
		Wenders' American-financed films Hammett (1980) and Paris, Texas (1983) were remarkable in their evocation of time and place, and the director could certainly have continued quite satisfactorily in Hollywood.
		Wenders' return to German filmmaking was rewarded in 1987 with the release of Der Himmel Über Berlin, or Wings of Desire.
		Wenders returned to the States the following year with The End of Violence, a film that explored the effects of violence on the intertwining of people's lives.
	www.djangomusic.com /actor_bio.asp?pid=P116407 (527 words)

	U2 Feedback - Connections: U2 and Wim Wenders*
		Wim Wenders is a filmmaker for the ages.
		Wenders admits that some of the soundtracks for his films have done better than the films themselves, although "Wings of Desire" and "Paris, Texas," are widely praised and need no soundtrack.
		Wenders' films aren't meant to show perfection, but part of his gift as a filmmaker is that he is able to portray grace not only in angels but also in ordinary people.
	forum.interference.com /a94765.html (2305 words)

	Wim Wenders and the Landscape of Desire
		Wenders searched for himself in a lot of places when he was young: he briefly studied medicine, then psychology, then romance languages and after that philosophy.
		Wenders said that although he owes a lot to Walker Evans's attitude of modestly "stepping back to let the object be all it is about," and although Robert Adams is a giant to him, he does not think he has been influenced by any photographers, only by painters.
		Wenders considers his still photography a kind of spiritual quest, much as his movies are, but seeking the spirit of places and the stories each one has to tell.
	www.nytimes.com /2003/11/30/arts/design/30GOLD.html?ex=1385528400&en=8fcdc66fef37227e&ei=5007&partner=USERLAND (645 words)

	Wim Wenders' WINGS OF DESIRE
		Wenders' genius was to make a film both compellingly realistic, as a documentary of life in modern Berlin, and convincingly metaphysical, as a tale of the angels in charge of watching over Berlin.
		Wenders' myth of men and angels thus strays from the orthodox religious accounts, but has, to be sure, its parallel aspects as well.
		Wenders makes of this possibility a beautiful meditation on the worldly and the divine, on what it might mean to be mortal and immortal.
	www.necessaryprose.com /wenders.html (3310 words)

	Wim Wenders
		Wenders' collaboration with Przygodda was the beginning of a long working relationship and both Przygodda and Müller were on board when Wenders was given the opportunity of realising Peter Handke's screenplay of The Goalkeeper's Fear of the Penalty, adapted for the screen from Handke's story of the same name.
		Wenders was drawn to Hopper's simplicity of framing and the ominous mood of his painting—Hopper's often deserted urban landscapes seemed to capture a moment of quiet “before all hell breaks loose”.
		Wenders once again shunned the simplicity of earlier works to produce a work of half-ideas and loose ends that are clumsily bookended with an unintentionally ghoulish voiceover of the angels addressing the audience in unison.
	www.sensesofcinema.com /contents/directors/03/wenders.html (10029 words)

	Wim Wenders
		Following Fassbinder’s death and Alexander Kluge’s retirement from theatrical filmmaking, Wim Wenders is without a doubt the most significant and internationally-renowned film director in Germany.
		Wenders is not only special due to his unique ability to precisely describe the awareness of the German post-war generation through all its evolutions, but because he has articulated these studies in a reflective relationship to his metier, story-telling and creating images.
		The earnestness with which Wenders has based his stories in history for almost twenty-five years, weaving ‚story‘ and ‚history‘ into one another, and the fantasy that allows him to constantly invent new images for the same problem make this German filmmaker one of the most important contemporary author-directors.
	www.kickfilm.de /en/info.php?film=Wim_Wenders (275 words)

	Wim Wenders
		Wim Wender's deliberately paced, hauntingly realized contemporary masterpiece, Wings of Desire is, all at once: a political allegory for the reunification of Germany, an existential parable on a soul's search for connection, a metaphor for the conflict between, what Friedrich Nietzsche defines as, the Appolinian intellect and the Dionysian passion, a euphemism for creation.
		Returning home only to acknowledge that their relationship has been irreparably damaged by Eugene's admitted affair, Claire soon leaves him to carve out a new life on her own, a destiny that she becomes increasingly convinced is inextricably bound to her guardianship of - and complete devotion to - the charismatic, transcontinental fugitive.
		Wim Wenders creates a visually and thematically epic, resonantly lyrical and texturally organic meditation on connection, communication, images, and the meaning of human sight in Until the End of the World.
	www.filmref.com /directors/dirpages/wenders.html (744 words)

	Wim Wenders talks with WSWS: "The culture of independent film criticism has gone down the drain"
		Wenders, who was born in 1945, studied medicine and philosophy before attending the Academy of Film and Television in Munich from 1967-70.
		Wim Wenders: My answer to this sort of comment is to explain that it is much simpler to make a film that is explicitly political.
		So I don't think that the fact that he cannot speak should be any handicap for him." And she was right, he proved that his limited ability to speak was, for him, as a filmmaker, the least of his problems.
	www.wsws.org /articles/2000/jan2000/wwen-j10.shtml (2883 words)

	Sarah R. Barnes - Wim Wenders - King of the Road Movies (Site not responding. Last check: 2007-10-21)
		The movies of Wim Wenders exhibit the influence of the filmmakers who composed the Oberhausen Manifesto like Alexander Kluge and a deep love for American directors such as John Ford and Nicholas Ray.
		Another theme that seems to prevail in the movies of Wim Wenders is the role of children.
		Wenders holds the shot for most of the duration of the song and it becomes pure poetry.
	myweb.wvnet.edu /~sarah/academic/king.html (2226 words)

	Amazon.com: Books: Wim Wenders: Once (Site not responding. Last check: 2007-10-21)
		The Cinema of Wim Wenders by Alexander Graf
		Wim Wender's opening prose about the art of photography is worth the price alone.
		Wenders' spare prose requires no concentration and is as easy to read as his photos are easy to look at.
	www.amazon.com /exec/obidos/tg/detail/-/1891024256?v=glance (879 words)

	Wim Wenders on Maxwell Street (Site not responding. Last check: 2007-10-21)
		Wenders was horrified to see the destruction in the Maxwell Street area and wishes the remaining old buildings, businesses, and churches would not be destroyed.
		Wenders shooting from in front of the recently closed Original Jim's Hot Dog Stand.
		Wenders shooting the jam at the corner of Maxwell and Halsted Streets, next door to the Johnny Dollar Thrift Shop (not shown).
	www.openair.org /maxwell/wim.html (453 words)

	INTERVIEW: Wim Wenders Defends "Million Dollar Hotel"
		Wenders: I know this and I know the opposite: I know the people who think it's the most beautiful thing they've seen in ages.
		Wenders: The script had a strange point of view, which is the narration is told in hindsight after his death.
		Wenders: I would ask them to come with an open heart and an open mind.
	www.indiewire.com /people/int_Wenders_Wim_010207.html (1904 words)

	Kings Of The Road - Wim Wenders, Rudiger Vogler 1976
		Wim Wenders's "Kings of the Road" differs from most road movies insofar as it does not quite conform to the conventions of the genre - a setting out, a journey and an arrival.
		Its two protagonists, Bruno, a cinema equipment maintenance mechanic and Robert, a pediatrician, have already commenced their journeys before the film begins and there is no clearly defined destination at the end.
		True, their initial encounter marks the beginning of a developing friendship but Wenders does not seem to be particularly interested in where it will take them, rather is it the minutiae of the journey itself that is all important.
	www.learmedia.ca /product_info.php/products_id/204 (975 words)

	Biography for Wim Wenders (Site not responding. Last check: 2007-10-21)
		Wenders won worldwide acclaim for 1984's Paris, Texas the story of a drifter making peace with his turbulent past, including a son he's never known; the film earned the Palme D'Or at Cannes.
		Wenders then returned to Germany to direct Wings of Desire (1988), a fable of angels hovering over Berlin; one of them falls in love with a circus acrobat and forsakes his immortal status, taking corporeal form to join her on Earth.
		Wenders worked on a couple of documentary projects before beginning his most ambitious production, 1991's Until the End of the World a science-fiction drama shot in more than five countries and featuring an international cast led by William Hurt.
	www.imdb.com /name/nm0000694/bio (825 words)

	Guardian Unlimited \| Arts features \| How Wim Wenders got the blues
		And, watching The Soul of a Man unravel the biographies of bluesmen Skip James and JB Lenoir through a cogent mix of archive footage and scripted re-enactment, it's possible to recall both why he was regarded so highly, and the pitch of expectation that surrounded him.
		Like much of Wenders' film-making, it was ambitious and philosophical; it was also achingly slow, semi-coherent, and less in need of editing than setting about with shears (although for anyone who felt differently, the Other Cinema's Wenders Weekend did offer a rare chance to catch the four-and-a-half-hour director's cut).
		In fact, The Soul of a Man finds Wenders ploughing much the same furrow as Buena Vista Social Club: while his tone is never less than respectfully awestruck, the responsibility of dealing with real people somehow allows him (and us) a playful release from the airless navel-gazing of recent years.
	www.guardian.co.uk /arts/features/story/0,11710,917915,00.html (1134 words)

	Wim Wenders @ Filmbug
		Wim Wenders was born on August 14, 1945 in Dusseldorf.
		Some of Wim's most renowned films are Paris, Texas, Wings of Desire, Lisbon Story, The End of the Violence and Beyond The Clouds, which he worked on with Michelangelo Antonioni.
		Tell us what you think of Wim Wenders in the Filmbug forum...
	www.filmbug.com /db/897 (253 words)

	Until the End of the World / The Logic of Wim Wenders (Site not responding. Last check: 2007-10-21)
		Wim Wenders was born on 14 August 1945 in Dusseldorf.
		In 1979 Wenders went to live in America for a number of years.
		Wim Wenders lives as a director and film-producer in Berlin.
	www.panix.com /~archii/uteotw/wenders.html (108 words)

	Wim Wenders: Pictures from the Surface of the Earth - City Gallery Wellington - Absolutearts.com
		From the director of Buena Vista Social Club and Paris, Texas comes Wim Wenders: Pictures from the Surface of the Earth opened at City Gallery Wellington, on Saturday 25 October 2003.
		Wim Wenders: Pictures from the Surface of the Earth comes directly to City Gallery Wellington, from the Museum of Contemporary Art, Sydney Australia and is based on recent versions of the exhibition presented at the Hamburger Bahnhof, Berlin Germany in September 2001 and at the Guggenheim Museum, Bilbao Spain in June 2002.
		As a prolific, multi-faceted artist, Wenders channels his creative energy and extraordinary visual sensibility into work across a broad range of media, including watercolours and ink drawings, collage, cinema, photography and electronic images.
	www.absolutearts.com /artsnews/2003/10/27/31487.html (560 words)

	biography (Site not responding. Last check: 2007-10-21)
		Wim Wenders is often characterized as an “Existentialist" of the New German Cinema movement.
		Extremely shy and introspective as a teenager, Wenders planned to study for the priesthood, but this desire soon gave way to an insatiable appetite for American music and film.
		Wim Wenders graduated from the Hochschule(graduate school of filmandtelevision), with his first feature film "Summer in the City", but he really began his professional career in 1971 with his next film, "The Goalkeepers Fear of the Penalty Kick"
	pegasus.rutgers.edu /~manny21/bio.html (266 words)

	Business Wire: Director Wim Wenders Produces "The Ground Benea... @ HighBeam Research (Site not responding. Last check: 2007-10-21)
		Wenders is one of a few European cinematographers to produce in CineAlta using a Sony 24P camcorder.
		Wim Wenders is an award-winning director, screenwriter and producer who is most widely known as one of the top directors of the New German Cinema genre.
		Wenders has earned the Palm d'Or in 1984 for Paris, Texas, Best Director in 1987 for Wings of Desire and Grand Jury Prize in 1993 for Faraway, So Close, all at Cannes Film Festival.
	www.highbeam.com /library/doc0.asp?DOCID=1G1:61390061&refid=ip_almanac_hf (656 words)

	The Wim Wenders Collection
		Together, Ray and Wenders create a film that is more than a documentary, telling an extraordinarily moving story about collaboration that goes beyond friendship, and ultimately, a life in cinema that transcends death itself.
		Initially resistant to the idea, Wenders soon became fascinated by the craft and philosophy of Japanese designer Yohji Yamamoto as he prepared his new season’s collections.
		From the streets and studios of Tokyo to the boulevards and catwalks of Paris, Wenders uncovers the essence of Yamamoto’s work while exploring the enigma of style, the language of images and the very nature of human identity.
	www.anchorbayentertainment.com /product/boxset.asp?sku=DV12754 (323 words)

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