Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
Production sketch by set designer/architect Walter Reimann for The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene) (via)
![Conrad Veidt & Lil Dagover in The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene)
“I realized that the sets had to deviate completely in form and design from the usual naturalistic style. The images had to be like visionary nightmares - averted from reality, they had to acquire fantastic graphic form. No real structural elements could be recognizable…[Caligari co-set designer Walter] Reimann, who applied the Expressionist painting technique in his designs, succeeded with his idea that this subject had to have Expressionist sets, costumes, actors, and direction…
Furthermore, I would like to say that sets should remain as background in front of which the action takes place, reflecting it and supporting the actor, who is after all supposed to have the major supporting role. In Caligari, this relationship is reversed. In this single special case I will concede that the sets became the major means of expression.”
-Caligari co-set designer, Hermann Warm, Caligari & Caligarismus](http://25.media.tumblr.com/tumblr_lckrmo0jO01qzdvhio1_r4_500.jpg)
Conrad Veidt & Lil Dagover in The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene)
“I realized that the sets had to deviate completely in form and design from the usual naturalistic style. The images had to be like visionary nightmares - averted from reality, they had to acquire fantastic graphic form. No real structural elements could be recognizable…[Caligari co-set designer Walter] Reimann, who applied the Expressionist painting technique in his designs, succeeded with his idea that this subject had to have Expressionist sets, costumes, actors, and direction…
Furthermore, I would like to say that sets should remain as background in front of which the action takes place, reflecting it and supporting the actor, who is after all supposed to have the major supporting role. In Caligari, this relationship is reversed. In this single special case I will concede that the sets became the major means of expression.”
-Caligari co-set designer, Hermann Warm, Caligari & Caligarismus
Lil Dagover in The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene) (via)
Conrad Veidt & Lil Dagover in The Cabinet of Dr. Caligari (1920, dir. Robert Wiene)
“The scenes in the steep, dark, crooked alleyways belonged to him. Even when he was not in front of the camera, he would prowl around the studio and startle us.”
-Lil Dagover on Veidt
(via)
Conrad Veidt in The Hands of Orlac (1924, dir. Robert Wiene)
(via)
![Conrad Veidt & Lil Dagover in The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene) (via)
“I realized that the sets had to deviate completely in form and design from the usual naturalistic style. The images had to be like visionary nightmares - averted from reality, they had to acquire fantastic graphic form. No real structural elements could be recognizable…[Co-art director Walter] Reimann, who applied the Expressionist painting technique in his designs, succeeded with his idea that this subject had to have Expressionist sets, costumes, actors, and direction…
Furthermore, I would like to say that sets should remain as background in front of which the action takes place, reflecting it and supporting the actor, who is after all supposed to have the major supporting role. In Caligari, this relationship is reversed. In this single special case I will concede that the sets became the major means of expression.”
-Caligari art director, Hermann Warm (Caligari & Caligarismus)](http://24.media.tumblr.com/tumblr_luouceVo7G1qzdvhio1_r1_500.jpg)
Conrad Veidt & Lil Dagover in The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene) (via)
“I realized that the sets had to deviate completely in form and design from the usual naturalistic style. The images had to be like visionary nightmares - averted from reality, they had to acquire fantastic graphic form. No real structural elements could be recognizable…[Co-art director Walter] Reimann, who applied the Expressionist painting technique in his designs, succeeded with his idea that this subject had to have Expressionist sets, costumes, actors, and direction…
Furthermore, I would like to say that sets should remain as background in front of which the action takes place, reflecting it and supporting the actor, who is after all supposed to have the major supporting role. In Caligari, this relationship is reversed. In this single special case I will concede that the sets became the major means of expression.”
-Caligari art director, Hermann Warm (Caligari & Caligarismus)
Production sketch by art director/architect Walter Reimann for The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene)
(via)
Conrad Veidt in The Cabinet Of Dr. Caligari (1920, dir. Robert Wiene) (via)
Genuine (1920, dir. Robert Wiene) Set design by German Expressionist painter César Klein.
(via)
Conrad Veidt in The Hands of Orlac (1924, dir. Robert Wiene) (via)
