PRECIS OF "GRADUATION BOOGIE" (SCREENPLAY)

 

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PRECIS  (in progress) GRADUATION PARTY BOOGIE (a.k.a. Darlings & Monsters) By Michael Roloff By the mid-80s I had a huge Fellinesque screenplay outline for a novel that is still a few years off completion. Friend and professional screen writer George Malko pointed out that the monstrosity had one scene, a birthday party for the 18 year old love of one of the main characters, on a loft and its roof in downtown Manhattan worked as a kind of microcosm of the whole - and a few years later I took George up on the challenge and it turned out well, George caught on to the fact that the one day party is seen through an all-hearing ear. As usual I came up with the wrong producer, spent a few years in Mexico, wrote other things, treated the screenplay far too nonchalantly and then all my friends, among them Paul Sylbert who was meant to direct it, said I ought to have dropped everything to get it made, and after the WTC went down and the changes in Tribeca I thought it could never be made. However, I no longer think that that is so. After al, what is required is a bohemian environment, with admixtures, and a high rise sky-scraper whence the “ear”, the Owl of Minerva, the ancient Austro-American psycho-analyst Habsburg descends in the very early morning for the 24 hour event in one place, the classical unities to proceed in through hour increments divided by the eight variations of a song that starts off as an early morning field holler and ends as a moon, with the boogie at its high point evening party time. That all purpose base song must be imagined for these purposes as being of the GREEH ONION kind, Leiber/ Stoller’s KANSAS CITY, a solid blues which allows the aforemnentioned kind of variations.

MIS-ATTRIBUTION OF TRANSLATION CREDITS…

• A COMMENT ON THE PREVALENCE OF THE MIS-ATTRIBUTION OF TRANSLATION CREDITS IN PLAYS…

• By Michael Roloff

• I did my first translations senior year in college 1957/58, an Ernst Stadler poem http://en.wikipedia.org/wiki/Ernst_Stadler and published it in the Haverford Bryn Mawr Review. Returning from my junior year abroad not only was I much taken with German expressionism but with Brecht and one of the Brecht Lehrstücke was part of my senior thesis – trouble is that memory fails to divulge whether I translated The Measure Taken   or The Exception & the Rule – or both? I know I worked on both… which did I complete? Perhaps Professor Harry Pfund kept the papers? I was also much taken, as of that year by the early Pound, and of the ABC of Reading and wrote an apparently brilliant essay – I turned it in both at a Haverford and Bryn Mawr course - on Hugh Selwyn Mauberly, also much taken by Goethe – a great class with Harry Pfund, and a great essay it appears on Faust – pretty well all of the place in other words, while also getting over a bad case of mono.           
• The next time I translated was Robert Musil’s The Portuguese Woman, as part of a  Masters Thesis – I really had nothing that urgent to say on Musil but certainly loved the translating work on that great novella – it has a moment the existence of a life, if not the world, hinges on a single comma.                        
• In New York then, trying to live the life of the ABC of Reading, Burton Pike, a Musil scholar, introduced me to Michael Lebeck through whom I met Robert Phelps who introduced me to Louise Bogan whose Valery translations I then published in Metamorphosis as well as working with her on a challenging Ernst Jünger text, uncompensated but extremely pleasurable collaborative work. For money I slipped into translating and because Roger Klein was so taken with my work on the Musil and the Jünger he gave me three Hesse novels to translate. If you have done Brecht, Musil and Jünger, Hesse is difficult, especially the early Hesse, for being stylistically antiquated. With Demian Hesse’s style loses its antiquarian quality yet in itself turns not into anything especially interesting – Hesse after all was a designer of Rorschach texts. Thus I always admired Ralph Mannheim’s work in keeping Hesse’s style at such a high literate level in his translation that I prefer to read Hesse in translation – not that I am, as you will see, a fan of Mannheim’s translations in every respects.                  
• Translation work, then, made it possible to stay independent – the object was not to become affiliated with a firm, just as I had not wanted to become part of a University literature department. Eventually I became affiliated with Farrar, Straus, and translated the Peter Handke plays, and as then Suhrkamp agent did the first four Kroetz plays for the director and friend Carl Weber who had done some major Handke productions by then. Kroetz presents unusual problems in that he wrote his plays in Bavarian dialect as well as normal German with inflections of dialect. First I sought to collaborate with Cormac McCarthy for his Orchard Keeper being in the only real dialect in American, what is left of Elizabethan in them thar Appalachians! Unable to talk McCarthy into the task I then compromised and translated Farmyard into my version of American black English, of which I had fair command for having no end of menial jobs during my High School and College years – among which menials however I don’t count the stretches of working as a union tile or marble man or  firefighting and geological surveying in Alaska, and having lived “black” during several stretches. This Americanization process of developing a “common touch” had the advantage for a translator that on the level of ordinary speech he develops an ear – which is what I find sorely missing in Mannheim, an immigrant who then lived most of his life in France. Mannheim, too, is not a great snake-skin modulator of syntactical rhythms when matters of that kind become all important ways of communicating the state of being of a writer, as is frequently the case with a breathing writer like Peter Handke. However, Mannheim, like “the Winstons”, then, is the kind of translator that editors who don’t know foreign languages feel they can trust to turn in what they regard as readable American English. More sophisticated editors, such as Fred Jordan and Richard Seaver of Grove Press and then Arcade, knew how to find a better fit between original and translator and the result does greater justice to the logos.    Carl had wanted to do Kroetz for finding 10 K to do a production – but then Kroetz asked for all 10 k for himself. Thus nothing happened to my translations for a few years. Once they started to be performed in the late 70s Kroetz did not share the translator’s one third share and so I was not too surprised to read Kroetz admitting few years ago that people say that “stinginess” is his major failing! I myself then found a way to get paid. And Google, the conscience of the world, can do wonders in tracking down productions for which you have not been paid.

•    What I could not have imagined at the time I was doing this kind of work was – and that is the matter that his sketch addresses - is that people would steal the credit to translations, not necessarily for the fairly picayune translator’s share of fees – although that happened to me, too, a few years back, and not insubstantially - but for the credit to their names. Translating, after all, like editing, is a service to the author, to an author generally superior in talent to the translator, and that was how I approached my work, no matter what delights it afforded, especially in the case of Handke’s plays. And as a matter of fact, although it must have and did occur many times before, I myself did not become the credit filcher’s victim until the mid-80s, but then with vengeance – the time of the so well named “Bonfire of the Vanities”, of the celebrity culture, of an upsurge of the manifestation of the inferiority complex dialectically enforced by the powers that be, and thus the most perfect of my thieves is someone who worked at “Lifestyle of the Rich and Famous,” Denise Gordon, to whom I gave co-translation credit for being so nice to work on Michi’s Blood in the Yale Drama grad school, while Jack Gelber and I did the first performances of Farmyard at the old Yale Co-Op around 1974. I then published a book with five Kroetz translation, four my own, with Urizen Books, in 1976, as Farmyard & Other Plays.        Denise’s pretense to be the sole translator, who has not a word of German, of Michi’s Blood did not transpire until 1986 and I probably would never have got wind of it if I had not shown back up on the West Coast at that time. After all, it was a hole in the wall production, but first rate, directed by a kid who had worked his way through Brandeis selling crack. And he then did a fine job of directing my Scenes from a Dental Slugfest – a play if ever there was one to at least upset your orthodontist. Simultaneously a production of my and Carl Weber’s translation of Handke’s They Are Dying Out was being done at a more substantial venue. I had no worries on that score – after all, I had received my translator’s share from the play service. As compared to poor little under-nourished flat-chested Denise, the director had got himself all the proper permissions. Thus imagine my surprise on beholding the director’s name as that of the translator! I introduced myself to the fellow, a German with passabe English who claimed to derive from the crowd that had produced Handke’s Offending the Audience/ Public Insult at the TAT theater in Frankurt in 1966. I asked about the translation, and his reply was “that is something else.” I was astounded, I was standing opposite the thief, and was he mad? And then he did it again while he and his girlfriend were treating me to strawberry sundaes, and with another collaboration of Carl’s and mine, Heiner Mueller’s The Mission where however I did not feel I deserved translation credit, because, say compared to Mueller’s great and demanding Destroyed Landscape, I had only edited Carl’s translation – something I loved to do and have been doing for fifty years since I started to do so for Fred Jordan at Grove Press and did again recently on                   Scott Abbott’s first rate translation of Handke’s long poem To Duration. It is wonderful monkish work, all Pink Panthers have been banished, the last close reading of a text, that most translators could do themselves if allowed to let the text cure for a year or two. Then, of course, there are the forever gloomy grammarians such as  Robert Hullot-Kentor where every misplaced comma on an Adorno text elicits rage.            
• However, the fellow once again claiming translation credid for work he had not done, and I lowered the boom, and his little troupe disintegrated. So so unnecessary!                          
•  When happening on the index for now deceased Jack Gelber’s paper, what if he does not claim to be the translator of Farmyard – and there we had remained friends until his end! And what as a visiting scholar at the University of Washington I don’t happen on Carl Weber’s site at Stanford Drama department where he presents himself as the chief translator of Handke and Kroetz, I am barely mentioned with a “with”. – I myself had noticed, over the many years of fine collaborative work that Carl always seemed extremely keen on extra credit, where he had merely read through a text, and so I made it a point to feature him in the translation of They Are Dying Out where his work made a real difference. I then asked the Drama Department to set Carl straight and it took a while for him to get his act together. Look at the far man’s fattest bio ever http://www.stanford.edu/dept/drama/people/prof.html .The lie still appears in his Wikipedia entry I just noticed.                
• Here in Seattle another attempted but unsuccessful theft: someone who really knows about theater and used to be a first rate critic, Roger Downey, pretended to VDA  (Verlag der Autoren) a firm I once represented in this country that Heiner Mueller had given him exclusive translation right to that gem Quartet – Roger the unsuccessful jewel thief! The backstabber! Who then did not show up for the Mueller Memorial service we organized at the University of Washington because the thought of meeting the translator of Quartet (I being merely the editor) gave him, the also food critic, a diabetes attack!

•    However, on the principle of “the worst is yet to come” “now hear this” it blasts on the Good Ship Lollipop” and if I don’t get an e=mail around x-mas a few years ago from Natasha Mytnowych  at the Canadian Stage
• https://www.canadianstage.com/Online/default.asp

• their new director, Matthew Jocelyn, returned from many years in France, wants to do Tankred Dorst’s Fernando Krapp. I happen to be the translator, I did the translation for Carl Weber around 1994 and it premiered in Seattle around 1997 and what with Seattle critics being as benighted as the rest of the local clod hoppers a fairly unsophisticated play - that addresses the conundrum, the forever fatum of men being consigned to the Goddess/ Whore ambivalence in their relationship to women - drives the final nail into the coffin of the fine AhHa Theater, one of five fine small theaters to go belly-up during my first decade in the Emerald City. It is a good  translation of a not terribly demanding text, and it was published by the Johns Hopkins University Press in an anthology edited by Carl Weber. The Canadian Stage is desperate to get a copy, they can’t find one in Toronto. Can I send them mine? Well, the quickest way is probably to turn the text into pdfs, and as I am doing so they do find a copy. I don’t give the matter too much further thought, but in the back of my mind rests the hope that a production at a major house will call attention to a play that is nearly as much a staple of European Theater as is Duerrenmatt’s The Visit, and based on one of my favorite novellas, Unamuno’s Nothing Less Than a Man, a work I have treasured since first it was published by Grove Press in the 60s.                         Come the following Spring,                   news reaches me that Matthew Jocelyn of the Canadian Stage will premiere his own translation of Fernando Krapp. It appears that Jocelyn, who has never translated, has learned German in three months, and fails to heed the advice of the agent proprietor, Suhrkamp Verlag, not to poach my translation. Although a single healthy potato I suppose can save an Irishman’s life during a famine we are not just “talking small potatoes”,  but, say, maybe $ 1,000 as my share. Jocelyn, who knows the play from Paris, is of course more interested in the credit for his premiere production as the new director of the Canadian Stage. I receive an e-mail from a member of the troupe telling me what’s up and begging me not to make his name public and I make enough of a fuss for CS to e-mail that they would like to talk to me. I e-mail back “sure, send me a copy of Jocelyn’s text and then we’ll talk” and I receive the most perfect of replies: they cannot send me the text for “legal reasons” -  fucking right they can’t. And no one else seems to give a damn. On top of all the other rip-offs, especially from Roger Straus, a man I helped make millions, I have suffered I feel like the sailors on the Battleship Potemkin at the inception of the 1905 revolution. And if matters of this kind happen just to me and in my purview it is a safe guess these detriments are prevalent.

• Yrs very truly,

• Michael Roloff

• Ex-officio P.E.N. Translation Committee

• P.E.N. Executive Committee

• http://translation-plus.blogspot.com/2013/05/the-mis-attribution-of-translation.html

• http://www.handketrans.scriptmania.com/

http://www.facebook.com/mike.roloff1?ref=name

           https://twitter.com/mikerol69

LETTER TO THE NEW YORKER RE GOTTLIEB'S REVIEW OF "HOTHOUSE"

• http://www.newyorker.com/arts/critics/books/2013/08/12/130812crbo_books_gottlieb?cSurrentPage=all
  
  
  
  • A once greenhorn now  chewed-up alley cat, perhaps you will allow me

  •   http://www.roloff.freehosting.net/index.html

  • a few growls on Robert Gottlieb's review of Boris Kachka's Hothouse, his biography of  F. S. & G. where I worked,  from 1966 to 1969, and brought 20 Hesse titles, the work of Peter Handke, Hans Erich Nossack, Christa Wolfe,and Nelly Sachs to the firm, and had a few other valuable hot projects in the works when I left,
  •  - a Theodor Adorno reader with a Susan Sontag introduction  -  and, after a few other stops along the rocky road of publishing, founded the ill-fated Urizen Books
  
  http://artscritic.blogspot.com/2011/04/short-unhappy-life-of-urizen-books.html
  
  • and would say that F.S.& G. was definitely hot at least in those days, Tom Wolfe, Joan Didion, Donald Barthelme, Robert Lowell at his hottest, the young Susan Sontag, Malamud, I.B. Singer...
  
  
  • The first retained impression of Roger Straus when this then Suhrkamp Verlag http://www.suhrkamp.de/
  • scout appeared that year at the F.S. & G.’s comfortably unostentatious low rent offices was of Roger's pockmarked rather brutal face and of his twelve-ply suit. Just registering, perhaps significant, perhaps not. At the end of our meeting Roger cherry picked me, one of his apparent talents, to do German books for him, in the past few years I had tuned myself in to what was going on, I had been at the Gruppe 47 meeting at Princeton where I also got my first impression of the so striking and rather girlish Susan Sontag, and indeed it was a shrewd move, I proved a good connection to German publishing, and we  traveled to the Frankfurt Book Fair. We got along, I didn’t mind his Runyonesque demeanor, he seemed fundamentally serious. Someone like the German publisher Ledig Rowohlt was far more flamboyant and also serious.  I recall the firm as being rather comfy, with some extremely nice people working there, Margaret Nicholson in Rights, Robert Wohlforth in Finance, Peggy Miller superb at being cool and slim. It appears that three editors then were homosexual (and Roger made few bones about not caring for gays, at least to me), not just Michael DiCapua and Hal Vussel who was my editor on the Nelly Sachs volume OH THE CHIMNEYS that I put together, translating 65 poems myself, ten of which the New Yorker published. I was unaware of Robert Giroux’s orientation until now as I was of F.S.& G. having been a “sexual sewer”, but then I only needed to be a the office one day a week, yet if anyone’s sexual antennas were tuned mine certainly were. Roger abroad was another matter. No one made a pass at me, there was no one working there who tempted this Tomcat.
  
  
  • Though with some real appreciation of Roger Straus' Runjonesque side and the fun it brought into the proceedings, a GREAT publisher he was not. Compare him, say, to Siegfried Unseld of Suhrkamp, and the development of that firm’s many lines and ways of selling the same title twelve different ways, or Christian Bourgeois and his 10/18   - Roger may have acquired Noonday Books from Cecil Hemley and taken its three fishes colophon, but he never developed that quality paperback line into anything comparable to the half dozen others of that kind and use it to really promote his authors.  Ditto for some of the other firms he acquired, Hill + Wang, stepchildren they remained. Nor was Straus a writer's editor as you find so many publishers, especially on the continent, and as Joathan Galassie appears to be who is also a poet and translator and scholar - e.g. Straus completely screwed up the publication of Peter Handke's work in this country, his personal responsibility, not that of the dozen hapless editors who kept inheriting Handke. Handke was hot hot, Avon republished his first five books as TWO & THREE by Handke. The New Yorker published his Left-Handed Woman in its entirety – and then Straus waited 7 years to publish the next title while Handke had written four further books! He passed on my translation of Walk About the Village – after two collections of plays had done extremely well. All it took was to keep your eye on the ball, it's not as easy as publishing Tom Wolfe’s comic strips that can connect with the country’s forever superficial nerve. In the great and some lesser political controversies of his time, McCarthyism, the Vietnam War, etc. Straus was m.i.a., and of course he didn’t do Handke’s controversial Yugoslavia book, Viking did – to become involved in those controversies might spill some egg on his fine suits. Things sticking to suits was a big deal to Roger, and so the first impression acquired weight. I don't know if I met a great among the major publishers in New York, but the recently deceased Arthur Rosenthal of Basic Books and Harvard University Press qualifies I think.
  • 
    
  • And Roger Straus was indeed chintzy as Jonathan Galassi describes him in his take on Kachka's book
  
  
  • http://www.vulture.com/2013/07/farrar-straus-giroux-jonathan-galassi-on-hothouse.html and the more surprisingly so in light of his origins in the world of great all around wealth, not just chintzy but, as chintz foretells, a chiseler, even of those who bring his firm Nobel Prizes and millions, the kind of person whom no number of Nobel prizes will ennoble. After I left, he was not just chintzy with me, he behaved dishonorably,  arbitrary abrogation of contractual obligation, utterly dishonourable actions, Straus was no gentleman or of his word, and this has real consequences, say for my teeth, and where you have instance of that kind it has been my experience the tiger does not change his stripes. No matter that you might be thrown a bone along the way, such as reviewing the Frankfurt Book Fair for the NY Times Book Review or introduced to some $ 100 an hour outside editing while I ran Urizen to help keep it afloat. Thus Robert Giroux's statement that he could never write a history of the firm at the thought of Roger (seehttp://www.nytimes.com/2004/05/27/books/27STRA.html &http://www.nytimes.com/2008/09/05/books/06giroux.html?pagewanted=all&_r=0) then, ever so unfortunately, makes the best of retrospective sense.
  
  
  • Mentions of Straus's friendship with the equally flamboyant but deadly serious Susan Sontag, who, oddly, looked like his twin sister at her death, brings to mind that I don't think Straus ever did any of the many interests she championed, money losers of course most of them! Smart would have been to give someone with such ranging interest her own line of books. The apparent need to be in a position to pay huge sums to satisfy grandiose egos redounds to the detriment of the many fine others, and thus to that of the culture as a whole. You can decide not to play that game.
• • F.S.&G. did not publish Jerzy Kosiński as Mr. Gottlieb  implies. The Painted Bird(1965) Roger                    wanted to do it, but his editors didn't know
  • what it was and how to fit it in. Roger Straus who then sold F.S.G for 30 Million and screwed me out of my few pennies may his reputation be forever ill!
  
  
  • 
    
  
                       

Matthew Specktor American Dream Machine

http://therumpus.net/2013/07/the-saturday-rumpus-interview-matthew-specktor/

Matthew Specktor is an unreadably lousy writer. Pedestrian? Ordinary? Worse! Style-less! Unreflexive. The opening pages suffice to prove my case, 

http://www.amazon.com/American-Dream-Machine-Matthew-Specktor/dp/1935639447

either you know about prose or your don't. This is just vulgar about vulgar people, naively so. Literature it is not. Not even realism.  

Specktor doesn't even exist, and David Shields, a nearly equally bad writer, is only scratching his back because Mathew scratches his at the L.A. Book Review.

WIELAND SCHULZ (KEIL) HUNTING SOCIEITY-A WANTED POSTER

                                                RE: WIELAND SCHULZ [KEIlL

Wieland Schulz-Keil



E-mail: wieland@neofilm.eu

   wieland@schulzkeil.com

Address in Germany:

NEOFILM – Gesellschaft für Leinwand und Bühnenunterhaltung mbH

Niebuhrstrasse 57B

10629 Berlin

Tel: +49 30 50594184

Cell: +49 172 328-7771

Address in Italy:

NEOFILM GmbH

Via Fici 4

91025 Marsala (Tp), Italia

Tel: +39 0923 715890

Cell: +39 333 6765701


NOTE UPDATED + CORRECTED IMD BIO AT THE END OF THIS POSTING
   

Of Cyber Cinema/Mediastadt Babelsberg/ .....]
http://www.ecoplan.org/advocates/schulz-keil-bio.htm

 

images for schulz (keil) http://tinyurl.com/ppqwskc

 

 http://www.schulzkeil.com/

 VOLUME I, # 1, APRIL 1997

 THE INTERNATIONAL WIELAND SCHULZ [KEIL]

 WIELAND-SCHWEIN WILD BOAR JAGD SOCIETY JOURNAL

 Eingetragener Verein O.H., Societé Non-Anonyme...

 Haupt-Jagdmeister & Headhunter, Michael Roloff

 Charter Members and Officers,

 Beaters, Beagles, Bloodhounds & Buglers….

 The injured parties in order of the appearance off their stigmata.

 Including a variety of judgments the Schulz [Keil] has incurred.

 the reasons for their incurrence…

 And the Keiler method employed in the instance

 ADMISSION REQUIREMENT TO THE SOCIETY:

 A GORING BY the Keiler, A FLUMMOXING BY the Schulz,

 A mesmerizing treatment to a performance of accounting wizardry

 TABLE OF CONTENTS

  A list in the making of financial Keilers administered

 and of the project + of the crime[s] committed…

 Description & characterization of the beast...

 Page 6: How to hunt such a one....

 HUNTING & BOUNTY ANNOUNCEMENT

 Please supply the names of fellow victims from the boring boars early childhood and student days in Europe, as well as those of his

 internationally acquired victims since: the sums of losses incurred, the method employed: Rome, Paris, Berlin, Hungary, etc... Small and large, its a thoroughly democratic club, as democratic as the animal is in picking truffles with his fat lips, as giving the small fry the

 runaround, as cheating, defrauding & fooling big and small...

 1945-1970 Grammar School, Gymnasium & University Years

 Note claims in the self-made resume affixed at the end…

 1970 Arrival in U.S.

 1971-2-3-4 some theater work and documentaries for WDR television

1972 I recommended Schulz to a variety of German publishers

 on leaving the agenting for them through the Lantz-Donadio Agency. Evidently the infamous Vicland [pron: Fickland = Fuckland porno film

dubbing company was founded during this period in association with the poor sap of a soldati, Victor Bertini

1975 Founding of Urizen Books, with me and Leo Feldsberg, the latter

as silent partner via Oberon N.V.

 1977 Olaf Hansen $ 50,000 minimum, Bodo Beer, camera man [10,000] on

 the 10 part W.S.K. Production Works Progress Administration

 Project for West German Television, simply didn’t pay, stealing

 from a brother who had been tempted by the line= =Well make

 some money Olaf.= Those informal and fraternal late 60s and

 early 70s days!

Victor Bertini [150,000 minimum + loss of firm] in his

 partnership with W.S.K. in the pornographic film dubbing

 firm Vicland Films [i.e. =Fuckland= in Amurrican]

 Leo Feldsberg [50,000], W.S.K. welches on his share of the

 development costs for a pornographic Midsummer Nights Dream

 film screenwriter, source of information, Judith Thurman, N.Y. N.Y.

Anyhow, Judith got a few months to write out of it.

Atlantis Film [Wolfram Juergens] [250,000 minimum + loss of

 his West German/Swiss pornographic film import company.

 Check with Munich law firm....

1978 Jonathan David, Lawrence Pithkethly [NY Center for

 Visual History [25,000], W.S.K. is eliminated as =treasurer=.

1979 Michael Klett [50,000], his loans to Urizen Books...but at least

 Michael didn’t get taken for the entire $ 500,000 buy-out buy-

 Back loan scheme that the Schulz had developed in one of his most

 ingenious moves: a triple play to take out two partners and

 the new investor at the same time... I do duff my Marine cap to the

 Chutzpah.

1980 Patrice Marden & Ralph Cotta [500 & 5,000 resp.], Mardens film,

 firm had incurred some costs trying the help W.S.K. Productions

 to find a distributor for its Gonzalo de Herralde Grau film.

 Cotta was the first co-producer whom Schulz screwed on the

 Under the Volcano Project after he had stolen it from Gonzalo

 de Herralde.

 1981 Anne Hemenway [200], W.S.K. stop payment on her last two Urizen

 paychecks!!!! Never think that the grand old man cant be petty.

Pepon Coromina [Figaro Films] $ 50,000 minimum] =accepts=

 W.S.K.s magical accounting! The grin on W.S.K.s face when the

 teletyped message =We accept your accounting= appears on the

 Urizen-registered charade teletype!

Gonzalo de Herralde [$ 50,000 minimum], his investment in

 developing UNDER THE VOLCANO for film, + whatever monies he

 might have been paid if W.S.K. had not =dropped= out of the

 project, making Gonzalo believe he had lost interest while

 actually trying to produce grandfather John Hustons version.

 1982 Leo Feldsberg [100,000 plus interest], his investment in Urizen

 Books.

Loeb-Block-Wachsman [judgment], a welch on the servicing of

 W.S.K.s offshore corporation, Princeton, N.V., Curacao!!! Set

 up for him by Leo Feldsberg, Oberon, N.V.

 Urizen Books Creditors, including authors [150,000], sluicing of

 investments through Urizen, while establishing equity, into

 Vicland then into W.S.K. Productions... a preferred method

 of tripling the value of your money on a good days afternoon!

 Salary without pay, since he was always devoting most of his

 time to film shenanigans, double invoicing for expenses.

 Continuum Books [Werner Linz] [25,000], illegal sale of

 5 Sam Shepard titles, which included 20 plays.

Jerry Tritz [1,000], welching on a lawyers fee.

The George Banta Corporation [180,000 -- their original

 $ 90,000 third party judgment now worth appr. $ 250,000]

 Michael Roloff [1984 Civ. Ctd. 86 default judgment in the

 amount of $ 250,000 now worth $ 500,000]

 Sam Shepard [50,000], loss of royalties, costs incurred in having to

 buy back the rights to his titles from Continuum Books, however

 poor little Werner Linz is just the sort of man to sell the

 Brooklyn Bridge to at a good price.

 Du Art Laboratories [judgment] welching on line of credit.

 Carey Cameron, Jeanette Naida, P. Handke [10,000 each], their

 investments in Urizen Books, plus interest

 1983 Michael Fitzgerald [150,000], cost & losses incurred in legal

 actions involving his executive producing Under the Volcano

 which had been double and triple billed by W.S.K.; M.F. is a

 good source of information on this project. W.S.K. was then

 proud to procure real whores from Mexico City for John Huston

 in Guernavaca, e.g. the slavish nature of the ego-weakened

 creature when serving the surrogate grandfather. Moritz Bormann, co-producer in Under the Volcano, was then innocently involved in W.S.K.s shenanigans. Check with him in Los Angeles to find out what his losses were.

Inge Feltrinelli [$ 800,000] investment in Under the Volcano

 Inges publishing firm with which Schulz had been introduced

 by Roloff through Urizen Books is the Italian publisher

 of Malcom Lowry.

BEWARE OF INTRODUCING W.S.K. TO YOUR FRIENDS

 AND ACQUAINTANCES, THEY ARE BOUND TO GET SCREWED, TO BE ROBBED!!!

 Christian Bourgois [??????], on Under the Volcano project.

 1984....PLEASE SUPPLY ANY INFORMATION YOU HAVE...

 1985….

 1986 ...PLEASE SUPPLY ANY INFORMATION YOU HAVE...

 Produces John Hustons THE DEAD in Valencia, Cal., evaded

 a lot of summonses and subpoenas in L.A. during the period,

 1987 PLEASE SUPPLY ANY INFORMATION YOU HAVE...

 1988 PLEASE SUPPLY ANY INFORMATION YOU HAVE...

 Produces =Twister= in Wichita Falls....

 1989 PLEASE SUPPLY ANY INFORMATION YOU HAVE...

 1990 PLEASE SUPPLY ANY INFORMATION YOU HAVE...

1991 Goodale Esq./ c.o. David Bowie [$ 250,000], inveiglement in a

 project, welching...

1992 The Parisian Co-Producer of The Kings Whore is bankrupted

 to the tune of $ 3,000,000 +

1993 Mayfair Ent., Ian Scorer [500,000 Brit Pound judgment on W.S.K.s

 wizardry in making two films {MESMER} & { } with the

 Mayfair Money he had for MESMER. Also acquires two further

 Judgments in the process [sometimes life IS fair!], the

 Mayfair judgment and one by Andrazc Hamory [$ 300,000 judgment], the co-producer of # 2. Ian Scorer and Andrasc in L.A. are excellent sources

 of information.

 1994 PLEASE SUPPLY ANY INFORMATION YOU HAVE...

 1995 PLEASE SUPPLY ANY INFORMATION YOU HAVE...

1996 Meyer-Weill $ 500,000] on W.S.K.s isolating of a screenplay

 for a Kondrachko [500,000] film, taking a part interest in it

 and blackmailing for liberating it. THIS, to my knowledge

 is a new, but obvious twist to his sadism. Obviously, producing

 A.K., the name game, is not [or was not] sufficient recompense

 at the time. The destructive sadism appears to be becoming

 more pronounced and breaking through.

 1997 Phillip Kreuzers creature does it again! But this time he

is pretty well forced out of the film business into CyberCinema

digitalizing.

 TOTAL JUDGEMENTS: At least a dozen to my by no means any longer complete knowledge.

 TOTAL DAMAGE CAUSED: many many millions, and count the heart aches.

DESCRIPTION & CHARACTERIZATION OF OUR PREY

 BIRTH DATE: 5/22/1945

 HEIGHT 6 2=

 HAIR: Brown-Grey/ No longer prematurely balding...

 BEARD: nicely trimmed at this point...

 MOUTH: powerfully cannibalistic, voracious, thick lips, tremble when

 scared, thus and for reasons of the thickness of the lips and the

 weakness of the chin there is that affected beard...

 EYES: Light blue, will wear sun-glasses even in the shade to conceal what

 his is looking at.

 OVERALL PHYSIOGNOMY: Gaunt, looked prematurely aged at one time, thats what happens if your grandfather is your model.

 Brought up by his grandfather, a banker from Frankfurt. According to

 the German artist Rebecca Horn, grandfather Keil in business matters

 behaved just as his grandson does now. Belonging to the fatherless but

 not to THE grandfatherless generation, it makes some sense that our

 subject reveres grandfather figures, such as John Huston, whose

 admiration he seeks. Will do anything for them, and thus can be an

 effective agent in their behalf.

 PERSONAL CHARACTERISTICS

 Excellent [psychotically energetic] organizer. Likes to live off other

 peoples work. Effective overseer in the sense of being niggling,

 schoolmasterish, bullying, shouting. Charming & helpful when he wants to ingratiate himself, overly helpful is the give-away. Purpose: to obligate people and somnolize them. After he has made his first hit likes to schmooze so as to neutralize hurts and angers, so as to get in a second hit. Suckers beware!

 Has a mesmerizing quality, but watch what his hands are up to while he is looking and talking to you. i.e. a card mechanic. No compunctions, absolutely brutal when it comes to the rip-off. Then does as though  nothing had transpired {=Oh, what are you up to….=}. Faux-naif is not quite the right word for the sang-froid with which he can pronounce the  biggest of lies. Undercuts arguments with Jesuitical carping.

 His over-bearing arrogance is one of his most obvious, =natural=

 qualities and weaknesses, thus the most dangerous moments are when our boar goes into his =humble humble= act. His defense is =not to look=, to be above, i.e. pretense at disdain. Excellent at picking brains and, if the pickings are good, in using them as though they were of his own manufacture; also in instilling doubt. Schoolmasterish fussy air, but can also be the kindly patriarchal teacher. Fear of flying. Since he knows what it is =to feel like a piece of shit=, he is a sucker for love; and thus is married to the insanity that resides inside him, his wife Helene Mueller. Doesnt forget the slightest slight, especially from the famous. So one wonders what slights the now bankrupt Holzkamp relatives subjected the comparatively impoverished mother and her only child to.  Incessant need for company, hyper-active, at least during the appr. 15 years that I knew him – sporadically at first, intimately for about five years, and the only in court and at depositions that he had to make - in N.Y. Intellectualizes his actions.

 BOAR HUNT DIRECTIONS

 Though our cornered animal will bare its teeth and screech as viciously as a wounded Neutria in the levees of the Louisiana Delta,

 though it is capable of the instantaneous and breath-=taking sang-froid big lie [=He/shes crazy= being a typical rejoinder],

 though it will stomp its feet and do a little Adolf dance fit and

 threaten to run out of the room [which is how it must have got its way as a spoiled child], although the animal will instantaneously try to obscure and complicate matters [not at all like a boar but rather as a spiderous inkfish], though the boar has the mesmerizing quality of a snake charmer and the practiced deceptive arts of a card sharp pickpocket [keep watch on the periphery of the vision inside the eye inside your head]...our prematurely aged wizard, it turns out,

 is a dreadful physical coward… a simple uppercut will do the trick, would have done it long ago... hes at intimidatable as the biggest scaredy cat... just lift your armand hell scoot off like the most cowardly barking cur.... that he will regroup is another matter...

 Our man is really a pussy-cat at heart! Just another kid-gloved killer, just another plain old Schulz, married to a plain but crazy Muller, its just another petit-bourgeois German tragedy which a Heinrich Mann, a Fallada could proper justice to.

 Once cornered, once confronted [and the beast will know it before Athena  or hunter/ress might him or herself], our beasts lips will tremble in the now well-kempt beard. Turns out that hes not without conscience! The archaic grandfatherly conscience is rather too severe, too sadistic, it has been incorporated rather too thoroughly, and it is being acted out to the very end.

 Let him charge past you and run full force into the net....

 Set the elephant trap well...

 His overbearing arrogant manner is the most obvious chink in the armor, so especially beware when he comes on =humble humble=... you are due for a goring....

 Or when poor little Wieland has been =screwed,= his seeking pity means that he is setting you up...

 If he wants to buy you a meal, treat you to a small loan, help you out, watch out, [Unless you be a pitiable old man or a pitiable cat.=], you are being set up.

 If he goes through the act of being oh-me-god so proper and exacting in his accounting, so excellent in the performance of his financial duties, you are being treated to a charade, you are being set up....

 If he goes through the act of being a regular guy, who curses and says =fuck shit corruption= at the right moments: the comedian is setting you up!

 Suffers from occasional kidney stone attacks!

Below, Schulzs bio in his own words, and annotated with corrections by me:

=Wieland Schulz-Keil was born near Frankfurt/Main, West Germany, in 1945. He studied classical philology, literature and philosophy at the universities of Frankfurt, Heidelberg, and Berlin. During these years, Schulz-Keil began directing plays, first at the City Theater in Frankfurt and then at various theaters in Europe. [Well, maybe one or two plays, he certainly was not getting anywhere in that field when he arrived in the U.S. with his American hippie girlfriend Barbara Becker.] In 1966 he became a contributing editor to Theater Heute, Germanys leading theater magazine, [dont see him on the masthead, so this would seem to be another self-inflation. I notice one single report from N.Y. on the off-Broadway scene.]

and at the same time began working as a consultant for Hanser Verlag, a major Munich publishing house.

Invited by the Chelsea Theater Center in New York to direct plays at the Brooklyn Academy of Music in 1969, [our Keiler talked Bob Kalfin into doing two Handke plays, neither the Chelsea nor Kalfin had heard of him before he called to present himself. Invited, like Pina Bausch!!!]

Schulz-Keil took up residence in New York City, [taking up residence are somehow not quite the right word for living in that hovel of a loft 65 West Broadway,] forming a documentary film production company, WSK Productions. During the next ten years he produced over forty documentaries [these little documentaries were financed by WDR, and one or the other was then sold to PBS, etc. - The infamous Vicland – Victor + Wieland Productions is conveniently left out from this inflated resume; inflation at one end invariably means deflation on the other lower depth end.]
for the BBC and PBS, as well as for German, Canadian, and Japanese TV. During the early Seventies, Schulz-Keil published numerous essays on culture and the arts, [I know of not one essay from that period!]organized art exhibitions, [never saw one, would have been invited as I was to his funky parties at his loft]and in 1975 formed a book-publishing firm in New York, Urizen Books, remaining a publisher until it was sold in 1983.[As noted above, Urizen was founded by me and Schulz, in 1975, with Leo Feldsberg joining us; Urizen was bankrupted by Schulz-Keil in 1981 and dissolved in a chapter 7 proceeding in 1982, the only sales were in bankruptcy sales]

 In 1978 he founded the New York Center for Visual History, a non-profit organization that produces and collects films on historical subjects. He remained a director of the center until 1983. [As noted above, the other members of the NYCVH were Lawrence Pithkethly and Jonathan David who to rid of Schulz as their “treasurer”, a “treasurer” if you want to lose everything you treasure!]
Through his documentaries Schulz-Keil was introduced to theatrical motion pictures, [well what he was introduced to on making a documentary on the making of porno films was the dubbing of same; his first real film was something unreleased called Pretty Maggie Money Eyes, filmed in Cartagena, an unreleased disaster; then he did Gonzalo de Herralde Graus JET LAG, on which he managed to screw the Spanish co-producer] and in 1977 produced his first flim. From then on Schulz-Keil worked on many films in many different capacities. [You can catch him playing the burglar in Houston’s Annie] Motion pictures produced by Wieland Schulz-Keil include: Under the Volcano (1983), directed by John Huston, which was an official entry at the 1984 Cannes Film Festival, and was nominated for three Academy Awards; The Dead (1987), directed by John Huston and opening that 1987 Tokyo and Venice festivals and receiving three Academy Award nominations; Twister (1989), directed by Michael Almereyda and nominated in the category Best First Feature for the 1991 Independent Feature Project Awards in Los Angeles. Wieland also produced The Innocent, directed by John Schlesinger, and Decadence, starring Joan Collins and Steven Berkoff, who also directed. [On all these films, Schulz was co-producer]

Since 1997 Wieland Schulz-Keil has devoted most of his time to the CyberCinema project, [since screwing his benefactor Phillip Kreuzer had the consequence of driving him out of the producing business] a network of public spaces throughout Europe, primarily located in rural regions and in culturally underprivileged urban neighborhoods. By presenting a varied and up-to-date program of films, CyberCinema will return cinema to places and to people for whom it had seemed lost. Through interactive technology it will also provide an infrastructure for Europe-wide learning and multilingual group discussions and debates. ....” [no doubt the collaborators in this venture, underprivileged as they may have become, will have interesting recollections, as do all the executive and co-producers who encountered Schulz during his film producing days.]

This biography is a piece of fiction, of ill-conceived deception of an unusually gross kind. What is amazing of course is that the Rasputin-like Schulz keeps finding a new bed to soil when a prior one proves too dangerous, he haD inveigled himself into Filmstadt Babelsberg.

Was forced to sell his aparment in resides most appropriately .. in PALERMO!


IMD 

http://www.imdb.com/name/nm0776542/?ref_=fn_al_nm_1

C0RRECTED BELOW:

 Wieland Schulz-Keil studied literature and philosophy at the universities of Frankfurt, Heidelberg, and Berlin. During these years, he began directing plays at various theaters in Europe. UTTER NON SENSE, ONE PLAY IN FRANKFURT

 In 1967 he became a contributing editor to Theater Heute, Germany's leading theater magazine. NEVER WAS

 Invited by the Chelsea Theater 

NONSENSE: SCHULZ HUSTLED A GIG DIRECTING THE AMERICAN PREMIERE OF TWO HANDKE PLAYS, SELF-ACCUSATION & MY FOOT MY TUTOR

Center in New York to direct plays at the Brooklyn Academy of Music in 1969, Schulz-Keil took up residence in New York City, and in 1970 formed a documentary film production company, WSK Productions. During the next ten years he wrote, directed and produced  AND STOLE FROM WRITERS SUCH AS OLAF HANSEN, THE EXPERT AND AUTHOR OF THE ROOSEVELT NEW DEAL ART SERIES  over forty docu-mentaries for the BBC and PBS, as well as for German and Japanese TV. FOR GERMAN T.V. WHO MAY HAVE SOLD THEM TO OTHER NETWORKS, AMONG THEM A DOCUMENTARY ON THE U.S. PORNO FILM PRODUCTION, OF WHICH SCHULZ VIA THE FIRM VICLAND {VITOR BERTINI & WIELAND SCHULZ} BECAME THE DUBBERS AND EXPORTERS OF U.S. PORNO TO GERMANY, IN THE PROCESS OF WHICH SCHULZ SCREWED VICTOR, ACCORDING TO DUBBER CHRISTOPHER GIERCKE OF HALF A MILLION DOLLARS, 

His better known documentaries SEE ABOVE WHICH CREDIT & INCOME HE STOLE include 'The New Deal For Artists', a 4-hour series on the cultural politics of the Roosevelt administration; 'German Film Emigration', a 7-hour series on filmmakers who left Germany during the Hitler years; and 'Shamans In The Blind Country', about a tribe in Nepal, shot over three years in the Himalayan mountains. Schulz-Keil published numerous essays on culture and the arts, organized art exhibitions, and in 1975 formed a book publishing firm in New York, Urizen Books, with LEO FELDSBERG & MICHAEL ROLOFF. IN 1979 Schulz pretended to Roloff that Feldsberg wanted him, Schulz as Publisher, and to Feldsberg that Roloff wanted him Schulz to be the publisher which heuntil it was sold WENT BANKRUPT / WAS BANKRUPTED BY SCHULZ in 1982. SOLD WAS 12 TITLES THE HEART OF THE COMPANY TO CONTINUUM BOOKS FOR $ 25,000 WHICH, INSTEAD OF PAYING THE URIZEN FULFILMENT SERVICE WHICH WAS GENERATING 10 K A MONTH, 

 WENT INTO SCHULZ OWN POCKETS BECAUSE WSK PRODUCTIONS WAS GOING BANKRUPT

In 1981 he worked with Guy Gallo 

GALLO NEVER WORKED WITH SCHULZ ON HIS SCREENPLAY

galand John Huston on the screenplay for Under the Volcano (1984) 

SCHULZ STOLE THE OPTION FOR UNDER THE VOLCANO FROM GONZALO DE HERRELDE GRAU ONE OF WHOSE FILMS The Murder of Pedralbes (1979) HE PRODUCED OUT OF THE URIZEN OFFICES IN NEW YORK CONVINCING THE SPANISH PRODUCTION PARTNER OF HIS ACCOUNTING VIA TELEFAX MACHINE!

and went on to produce the picture, together with his old friend Moritz Borman. Since then Schulz-Keil has been producing theatrical motion pictures in the USA, in France and in the UK, one of the latest of which was The Cat's Meow (2001). In recent years Wieland Schulz-Keil, together with long-time associate Philipp Kreuzer, arranged the financing of a number of important motion pictures, among them: Enemy at the Gates (2001), _ Score,The (2001)_, Serving Sara (2002), and Beyond Borders (2003). Wieland Schulz-Keil has played a decisive role in the development of a Europe-wide digital cinema. He has participated in numerous European and international symposiums, including the Montreux-Symposium where he served as co-chairman of the "Digital Cinema" forum.

- IMDb Mini Biography By  SELF AS ANONYMOUS!!: