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
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.ecoplan.org/advocates/schulz-keil-bio.htm
images for schulz (keil) http://tinyurl.com/ppqwskc
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
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!!:
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