Scmoeller's first film was "Tourist Trap," a bit of hackwork for producer Charlie Band, starring Chuck "The Rifleman" Connors, made in 1978.
Over the last 30 years, the only seconds of Schmoeller film I have seen that have not been a total waste of my time, are the few minutes Kinski spent on-screen in the course of "Crawlspace." Schmoeller has no gift for directing actors, as clearly demonstrated by any of his films. That the abundantly talented Kinski should resent that his gift would be filtered through Schmoeller's myopic directorial vision is no surprise.
That Schmoeller should elect to assassinate Kinski 8 years after his death, and 13 years after making "Crawlspace," is unfathomable, except as an act of Lilliputian spite against an artistic giant. Perhaps the filmmaker realized that his films without Kinski were monumentally uninteresting. hence this vanity piece as an attempt to jump-start his stalled career.
Herzog had no less difficulty with Kinski. But he was always grateful for the opportunity to capture Kinski's living fire on film. Schmoeller seems oblivious to this gift.
Here, Schmoeller comes off as a raging queen -- not that it matters whether he is gay, but he seems totally unaware that he comes off as a stereotype that even most gays find annoying. Perhaps this lack of self-awareness is a key to what he lacks as a filmmaker?
Over the last 30 years, the only seconds of Schmoeller film I have seen that have not been a total waste of my time, are the few minutes Kinski spent on-screen in the course of "Crawlspace." Schmoeller has no gift for directing actors, as clearly demonstrated by any of his films. That the abundantly talented Kinski should resent that his gift would be filtered through Schmoeller's myopic directorial vision is no surprise.
That Schmoeller should elect to assassinate Kinski 8 years after his death, and 13 years after making "Crawlspace," is unfathomable, except as an act of Lilliputian spite against an artistic giant. Perhaps the filmmaker realized that his films without Kinski were monumentally uninteresting. hence this vanity piece as an attempt to jump-start his stalled career.
Herzog had no less difficulty with Kinski. But he was always grateful for the opportunity to capture Kinski's living fire on film. Schmoeller seems oblivious to this gift.
Here, Schmoeller comes off as a raging queen -- not that it matters whether he is gay, but he seems totally unaware that he comes off as a stereotype that even most gays find annoying. Perhaps this lack of self-awareness is a key to what he lacks as a filmmaker?