I believe that unless we discover new images, we will die out." He has said it is his mission to help us discover new images: "I am trying to make something that has not been made before." He is proud of never using storyboards and often improvising large parts of the script. He explains this technique in the commentary track to Aguirre, the Wrath of God. In 1999, before a public dialogue with critic Roger Ebert at the Walker Art Center, Herzog read a new manifesto, which he dubbed Minnesota Declaration: Truth and Fact in Documentary Cinema. Subtitled "Lessons of Darkness," after his film of that name, the 12-point declaration began: "Cinema Verité is devoid of verité. It reaches a merely superficial truth, the truth of accountants." Herzog explained that "There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization" and that "facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable." Ebert later wrote of its significance: "For the first time, it fully explained his theory of 'ecstatic truth.'" In 2017, Herzog wrote a six-point addendum to the manifesto, prompted by a question about "truth in an age of alt-facts." His treatment of subjects has been characterized as Wagnerian in its scope, but film theory has in recent years focused on the concept of the ecstatic and the nomadic character of his film. The plot of Fitzcarraldo is based on the building of an opera house and his later film Invincible (2001) touches on the character of Siegfried. Herzog's documentary The Transformation of the World into Music goes behind the scenes of the Bayreuth Festival. Herzog has directed several operas, including Mozart's The Magic Flute, Beethoven's Fidelio and Wagner's Parsifal. Teaching Critical of film schools, Herzog has taught three cinema workshops. From 2009 to 2016, he organized the Rogue Film School, in which young directors spent a few days with him in evocative locations. What exactly goes on at the rogue film school have been clouded in secrecy, but director and writer Kristoffer Hegnsvad report from his stay there in his book Werner Herzog – Ecstatic Truth and Other Useless Conquest: “The first thing you notice is his enormous presence. His self-confidence sends shockwaves through a room every time he