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“... than life at home might see them. Foreign artists, photographers and film-makers in particular – Wim Wenders, Robert Frank – have a special liking for this aspect of the look of America. Hopper did it better. The images get stronger as he gets older. The pictures he made during early trips to Paris in the 1920s have a nice feeling for asymmetrical ...”

“... you mind telling me where you’re headed? What’s out there? There’s nothing out there.’ Wim Wenders, the film’s German director, was credited with bringing a detached European curiosity to the discovery of a new, exotic side of America. His achievement was, rather, to realise with great visual flair the landscape and fractured personalities ...”

“... trial (it is now 1943), Franz comes before a judge, played by Bruno Ganz, star of great movies by Wim Wenders and Werner Herzog. The judge suspends the proceedings to have a quiet talk with Franz, and provides the film’s one truly memorable scene. He tries, as others have, to get Franz to see reason, and Franz says he cannot betray his conscience. He ...”

“... Wim Wender’s very pleasurable Paris, Texas (1984) is both an American movie and a European film. Its creative pedigree is mixed – all through the credits: the German Wenders as director, the American Sam Shepard as writer; the German Robby Müller as cinematographer, the American Ry Cooder as composer/performer of the music; the American actors Harry Dean Stanton and Dean Stockwell as the central Henderson brothers, the French Aurore Clément and the German Nastassia Kinski as their wives ...”

“... dream they all had, the gob-for-hire scribes, the cultural commodity brokers? That Abel Ferrara or Wim Wenders or Fassbinder or Jean-Pierre Melville would recognise that they were the only ones who understood the secret text, the story beneath the story. And they would be whisked away, club class, to an air-conditioned suite to collaborate on some ...”

“... work on screenplays, too, contributing to Antonioni’s Zabriskie Point (1970) and, most famously, Wim Wenders’s Paris, Texas (1984). Since then, though, Shepard’s career has been marked by inertia or falling off. He has become a legend and an institution; his plays have been revived successfully – most recently in a triumphant Broadway True ...”

“... to mind. In its echoes The Ultimate Good Luck is both up-to-date and oddly old-fashioned. You want Wim Wenders to make the movie, but you want Bogart and Bacall to be in ...”

“... shrug and he’s away through the revolving doors. It’s a great cultural event, melancholy as Wim Wenders, watching Petit work a retail outlet. Shopper as aesthete. He tracks, he drifts; he won’t stoop to examine a label or a price tag. The nostrils flare. The stern eyebrows twitch. Some hideous vulgarity, in terms of colour or texture, has been ...”

“... amount of tequila, smoothed over with quantities of grass. After a suicide attempt and rehab, Wim Wenders cast him as an emotionally flat but lethally friendly Tom Ripley in The American Friend in 1977, probably his best movie and performance so far. Two years later, he was back to his old self in real life and on film in Apocalypse Now, as the ...”

“... on a Train. In his adaptation of a Highsmith novel (The American Friend) the German film-maker Wim Wenders recognised the same fraternal and eventually fratricidal consequences in the principals’ criminal compact. The Boy Who Followed Ripley is less a brother than a son, something Ripley’s French wife, the svelte Heloise, will never ...”