"There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance"
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Herzog is doing that sly thing he does: sounding almost reasonable while quietly insulting the entire ecosystem that demands “reasonable.” He concedes there are “laws and elements” to mainstream accessibility, but the phrasing is barbed. Laws aren’t tastes; they’re constraints, mechanisms, an industry physics that can be exploited. He’s not naive about commerce. He’s implying he’s simply uninterested in obeying it.
The Tom Cruise example is deliberately blunt because it’s shorthand for a whole apparatus: bankable star, pre-sold spectacle, narrative certainty, the audience’s comfort that the movie will deliver exactly what it promises. “As a strongman” is doing extra work here. It nods to action-hero mythology and masculinity as product, but it also hints at Herzog’s suspicion of cinematic power fantasies. Cruise isn’t a person in this sentence; he’s an ingredient.
Then comes the hinge: “larger audiences” versus “substance.” Herzog frames popularity as an engineering choice, not a moral victory. The subtext is that mainstream cinema often confuses scale with meaning, and that casting can become a kind of anesthetic: a familiar face that makes viewers feel safe, smoothing over the jagged strangeness where art tends to live.
Context matters: Herzog’s career is built on courting discomfort, chasing ecstatic truth over neat catharsis, and treating film as a confrontation with nature, obsession, and human extremity. He’s not merely defending obscurity; he’s defending risk. A Cruise-sized solution would “work,” and that’s precisely the problem.
The Tom Cruise example is deliberately blunt because it’s shorthand for a whole apparatus: bankable star, pre-sold spectacle, narrative certainty, the audience’s comfort that the movie will deliver exactly what it promises. “As a strongman” is doing extra work here. It nods to action-hero mythology and masculinity as product, but it also hints at Herzog’s suspicion of cinematic power fantasies. Cruise isn’t a person in this sentence; he’s an ingredient.
Then comes the hinge: “larger audiences” versus “substance.” Herzog frames popularity as an engineering choice, not a moral victory. The subtext is that mainstream cinema often confuses scale with meaning, and that casting can become a kind of anesthetic: a familiar face that makes viewers feel safe, smoothing over the jagged strangeness where art tends to live.
Context matters: Herzog’s career is built on courting discomfort, chasing ecstatic truth over neat catharsis, and treating film as a confrontation with nature, obsession, and human extremity. He’s not merely defending obscurity; he’s defending risk. A Cruise-sized solution would “work,” and that’s precisely the problem.
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| Topic | Movie |
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