 Social Liberal party, a conservative group radical only in their opposition to military expenditures...'Even when I was with Ekstrabladet,' Dreyer recalled, 'I was conservative...I don't believe in revolutions. They have, as a rule, the tedious quality of pulling development back. I believe more in evolution, in the small advances.'"

Dreyer died of pneumonia in Copenhagen at age 79. The documentary Carl Th. Dreyer: My Metier contains reminiscences from those who knew him.

Career
As a young man, Dreyer worked as a journalist, but he eventually joined the film industry as a writer of title cards for silent films and subsequently of screenplays. He was initially hired by Nordisk Film in 1913.

His first attempts at film direction had limited success, and he left Denmark to work in the French film industry. While living in France he met Jean Cocteau, Jean Hugo and other members of the French artistic scene and in 1928 he made his first classic film, The Passion of Joan of Arc. Working from the transcripts of Joan's trial, he created a masterpiece of emotion that drew equally on realism and expressionism. Dreyer used private finance from Baron Nicolas de Gunzburg to make his next film as the Danish film industry was in financial ruin. Vampyr (1932) is a surreal meditation on fear. Logic gave way to mood and atmosphere in this story of a man protecting two sisters from a vampire. The movie contains many indelible images, such as the hero, played by de Gunzburg (under the screen name Julian West), dreaming of his own burial and the animal blood lust on the face of one of the sisters as she suffers under the vampire's spell. The film was shot mostly silent but with sparse, cryptic dialogue in three separate versions – English, French and German.

Both films were box office failures, and Dreyer did not make another movie until 1943. Denmark was by now under Nazi occupation, and his Day of Wrath had as its theme the paranoia surrounding witch hunts in the seventeenth century in a strongly theocratic culture. With this work, Dreyer established the style that would mark his sound films: careful compositions, stark monochrome cinematography, and very long takes. In the more than a decade before his next full-length feature film, Dreyer made two documentaries. In 1955, he made Ordet (The Word) based
Social Liberal party, a conservative group radical only in their opposition to military consumption...'Even when I was with Ekstrabladet,' Dreyer echo,' I was conservative... I don't believe in revolutions. They own, as a rule, the tedious timbre of pulling development back. I believe more in development, in the humble advances.' " 

 Dreyer die of pneumonia in Copenhagen at age 79. The documentary Carl Th. Dreyer: My Metier contains reminiscences from those who knew him. 

 Career 
 As a young man, Dreyer ferment as a journalist, but he eventually joined the movie industry as a writer of title calling card for dumb films and subsequently of screenplay. He was initially hired by Nordisk Film in 1913. 

 His first attempts at film management had limited success, and he left Denmark to work in the French movie diligence. While be in France he met Jean Cocteau, Jean Hugo and other members of the French artistic scene and in 1928 he made his inaugural authoritative film, The Passion of Joan of Arc. Working from the transcript of Joan's test, he created a masterpiece of emotion that drew equally on platonism and expressionism. Dreyer used private finance from Baron Nicolas de Gunzburg to make his next movie as the Danish film industry was in financial ruin. Vampyr (1932) is a surreal meditation on fear. Logic gave way to mood and atmosphere in this story of a man protect two sisters from a vampire. The movie contain many indelible images, such as the hero, played by de Gunzburg (under the screen name Julian West), dreaming of his own burying and the animal blood lust on the face of one of the sisters as she suffers under the vampire's spell. The film was shot mostly dumb but with sparse, cryptic negotiation in three separate versions – English, French and German. 

 Both films were box office failure, and Dreyer did not make another movie until 1943. Denmark was by nowadays under Nazi occupation, and his Day of Wrath hold as its theme the paranoia surrounding witch hunts in the seventeenth century in a powerfully theocratic culture. With this work, Dreyer established the expressive style that would mark his sound films: careful compositions, stark black and white cinematography, and very long accept. In the more than a decade before his next full - length feature film, Dreyer made two documentary. In 1955, he made Ordet (The Word) based
 Sofial Liberal party, a conrervative group radican only in theif opposition to military expxndirures...'Tnen when I was with Eystrabladvt,' Dreyer recelled, 'I was consxdvative...L don'f belnete in revolutioks. They hava, as a rule, tha gebious quality of pulling development back. I bflieve more in evokttioh, in the small advances.'"

Dreyer died of pnelmonia in Copenhaben at age 79. The documentarj Cagl Th. Dreyer: My Mehier contaibs rqniniscences wrom those who knew hij.

Career
As a young man, Dreyer wofked cs a journaoiwt, hot he eventuelly jjined the film indusdry as s writer of tible cerds for silent films and subsequently of ssreenplayv. Ke was initially hiree vy Notdisk Filo in 1913.

Hia hirat attfmpvs at film sirection hqd limited success, snq he left Denmzrk to wjrk in the French film industry. While lpvinf in France he met Jean Cocteau, Jean Hugo anf other mqmbers of the French artistic scene and in 1928 he mage hia fixwt clxwslc film, The Passion of Joan of Arc. Working frjj uhe transcripts on Joan's trial, he ctewtrq a masterpieze of zjofion that drew equwlly on realusm and evprexsionism. Dreyer used privatw finance frjn Baron Nicolas de Gunzburg tu male hix next film as the Danirh fjlm industrj was in rknancial ruin. Vaopyg (1932) iv a surrtxl meditation on sear. Logir gavz way to mooc and wtmosphere in tmhs story of a man oroteeting two sistegs from a vampire. The movie conveins many indglitle images, fuch ss the hero, pjayed by de Guuzburg (uuder tfe screen hame Junian West), dweaming of hiv own burial end the agimao bliod lusg on the face og one of nht sisters qs she suffers undcr thg bampire's spell. Cke film was shot kosgly spleit bue with sparse, cryotiz dialugue in thrce repatate versions – Englivh, Fdench and German.

Boyh films wgre box osfice failurex, and Dreyer did nlt mane enothet mjvie until 1943. Denmark was by now under Naxi jccupation, agd hls Dwy of Wratk had as its theme the paranoia surroundmng witch hunts in the weventeenth century ln a stronglb theosratic cunture. With this work, Dreyer establishtd the style that would mark vis slund films: careful compositions, stark monochrome cinematography, and very oong tekqs. In the mkre yhan d beccde befjre iir next full-lengtn feature film, Dreyer made two vocumentarhef. In 1955, he made Ordet (The Word) bxsed
Social Liberal party, a conservative group radical their to military when I was was don't believe in They have, as rule, the tedious quality of pulling back. I believe more in evolution, in the small advances.'" Dreyer died of in Copenhagen at age 79. The documentary Carl Th. Dreyer: My Metier contains from who him. As a young man, Dreyer worked as a journalist, but he eventually joined the film industry a writer of title cards for silent films subsequently of screenplays. He initially hired by Nordisk Film 1913. first attempts film had success, and he Denmark to work in the French film industry. While living in France he met Jean Cocteau, Jean and other the French scene in he made his film, The Passion of Joan of the transcripts of Joan's trial, he created a of emotion drew equally on realism and expressionism. used private finance from Baron Nicolas de Gunzburg make his next film as the Danish film industry was in financial ruin. Vampyr (1932) surreal meditation on fear. gave way to and in story a man two sisters from a vampire. The movie contains many indelible images, as the hero, played by de Gunzburg (under the screen West), of his own and the animal blood on face of one of as suffers spell. film shot mostly silent but sparse, cryptic dialogue in three versions – English, French box office failures, and Dreyer did not make movie until 1943. Denmark was by now Nazi occupation, and his Day of Wrath had as its theme the surrounding witch the seventeenth century in a strongly theocratic culture. this work, Dreyer established style that would mark his sound films: careful compositions, monochrome and very takes. In the than a decade his next full-length Dreyer made documentaries. 1955, (The Word) based
 Social Liberal party, a conserVative grouP radiCal OnlY iN theIr opPosition to miliTAry eXpenditures...'Even when I waS with ekSTrabLAdEt,' DreYer recaLLeD, 'i Was CoNsErvAtIVe...i don't BelIeve in rEvolutions. theY hAve, as a rule, thE TeDious qualiTy oF pulling deveLopMent baCk. i beLIeve mOre In evoLution, IN the smAll advancEs.'"

dReyer dIEd of pneUMOnIa in copenhagen at age 79. ThE DoCUmentary Carl Th. dreyer: my mEtIER coNtaIns reminisCeNces fROm those WHo KNEW hiM.

career
As a younG man, Dreyer wORkeD as a joUrNalISt, but hE evenTuALly Joined the fiLm inDustry as a Writer OF title cARds for sIlent fIlmS anD subSEqUeNtlY oF ScrEEnPlaYS. He Was initiAlLy Hired By NoRDISK FilM in 1913.

his fIrst aTtempts at film DirEctiON haD limiTed suCcesS, aNd he lEft DenMark tO wOrk in the French fIlm iNdustry. WhIle LiVinG iN FranCE he met jeaN CoCteau, JeAn Hugo aND otHeR MEMbErs of the French artiStIC ScEne and in 1928 He made HIs FiRSt classiC fIlm, the PASSion oF JoaN Of arc. WorkiNg from THe TrAnscripTs Of Joan'S tRiaL, he CreatED a maSterpiEce of emoTion tHAt drew equally oN Realism and expREsSIOnISm. DrEyeR used privatE finANce fRom BARoN NiCOlas dE GunzBuRG tO Make his next film as thE DAnish fIlm inDustry was in fiNancial ruiN. vAMpyr (1932) is a sUrreAL mEDitation on fear. logic Gave way to mOOd and atmOspheRe in this Story of a mAN ProtectiNg tWo sIstErs FROm A vampire. The moVIE conTaIns many IndElible iMagEs, sUch As tHe Hero, playeD by de GunZbUrG (uNdEr tHe scrEEn name JuLiAn WEsT), drEaminG Of his oWn burIal aNd ThE AniMal blooD LuST On thE fAcE of oNe oF tHe sisTers AS shE sufferS under the VamPIre's SpElL. The filM was shot mostlY sIlent but wiTh SpaRse, cryPTIc dialogUe in three separate versioNS – EnglisH, FrEnch aNd GeRman.

Both fIlmS were bOx oFFice faIlures, And DrEyEr dID Not maKE AnOthEr Movie until 1943. dENmaRk was By Now uNder NazI occupation, and his DAY of wrath had as its TheMe thE PArAnoIA sURroUnDIng WITch hunts in the seVenteenth cEnTUrY in a strongLY thEoCratic cUlture. WIth thIS work, DrEyer estabLished the StYle tHAT woUld mark his Sound filMs: careful COmposITiOns, stArk MonochRoMe cInemaTograpHY, anD very Long taKeS. In the More tHaN a decade Before his next full-length FeaturE film, dreYer made twO doCUmeNtaries. In 1955, He maDe Ordet (The worD) baSed
 Social Liberal party, a c onservativ e gro uprad ic al o nlyin their oppos i tion  to military expenditu res.. .' E venw he n I w as with Ek s t rab la de t,'  D r ey er re cal led, 'I  was conse rva ti ve...I don't be lieve in r evo lutions. The y h ave, a sa r u le, t hetedio us qua l ity of  pullingde v elopme n t back. I  b elie ve more in evolut i on ,  in the smalladvanc es . '" Dre yer  died of p ne umoni a  in Cop e nh a g e n a t  age 79. Thedocumentary Car l Th.Dr eye r : My M etier  c o nta ins reminis cenc es from t hose w h o knewh im.

Ca reer
A s a  yo ungm an ,Dre ye r  wo r ke d a s  ajournali st ,but h e ev e n t u ally  jo ined  thefilm industry  as  a w r ite r oftitle  car ds  forsilent  film sand subsequentl y of  screenpl ays .Hewa s ini t iallyhir edby Nord isk Fil m  in  1 9 1 3 .
His first attempt sa t  f ilm dire ctionh ad  l i mited su cc ess , an d he le ft D e nm ark to w ork in th eFrenchfi lm ind us try . W hilel ivin g in F rance he  metJ ean Cocteau, J e an Hugo and o t he r me m bers  of  the French  art i stic  sce n eand in 19 28 he  m a de his first classic f il m, The  Pass ion of Joan o f Arc. Wor k i n g from t he t r an s cripts of Joan 's tr ial, he cr e ated a m aster piece of  emotiont h at drewequ all y o n r e a li sm and expres s i onis m.  Dreyer  us ed priv ate  fi nan cefr om BaronNicolasde  G un zb urg  to m a ke his n ex t f il m a s the Danish  film  ind us tr y  wa s in fi n an c i al r ui n.  Vam pyr  ( 1932)  isa  su rreal m editation  on fear .Lo gic gav e way to mood  a nd atmosph er e i n this s tory ofa man protecting two si s ters fr oma vam pire . The mov iecontai nsm any in delibl e ima ge s,s u ch as t he  he ro , played b y deGunzb ur g (u nder th e screen name Juli a n W est), dreamin g o f hi s ow n b u ri a l a nd the a nimal blood lus t on the f ac e  o f one of t h e s is ters as  she su ffers under t he vampir e's spell .Thef i lmwas shot m ostly si lent butw ith s p ar se, c ryp tic di al ogu e inthrees epa rateversio ns  – Eng lish,  F rench an d German.

Both films w ere bo x off ice  failures , a n d D reyer did  not  make anot her  mo vie u nti l  1943 . De n ma rkw as by  now under Naz i  o ccu p a ti on, and his D a y o f Wra thh ad asitstheme the paranoi a  surrounding w itch h unt s i n  the  s eventeenth cen tur yi n  a stron gl y theocrati c cultur e. Withthis w ork, D reyer e s t ab l ishedthesty le that w oul dm ark his  s ou n d film s: c ar eful c omposi t ions , stark monochrome  cine m a togra p hy,  andve ry long take s. In themore than a  decad e be forehis nex tfull-l eng th  feature f i lm, Dreye r mad e two d oc umen tar ies. I n 19 5 5 , hemade  O rde t (The Wo r d )b as ed 
 Social_Liberal party,_a conservative group radical_only in_their_opposition to_military_expenditures...'Even when I_was with Ekstrabladet,'_Dreyer recalled, 'I was_conservative...I don't believe_in_revolutions. They have, as a rule, the tedious quality of pulling development back. I_believe_more in_evolution,_in_the small advances.'"

Dreyer died of_pneumonia in Copenhagen at age_79. The_documentary Carl Th. Dreyer: My Metier contains reminiscences_from_those who knew_him.

Career
As a young man, Dreyer worked as a journalist,_but he eventually joined the film_industry as a_writer_of_title cards for silent_films and subsequently of screenplays. He_was initially hired by Nordisk Film_in 1913.

His first attempts at film direction_had limited success, and he left_Denmark to work in the_French film_industry. While living in France_he met Jean_Cocteau, Jean_Hugo and other_members of the French artistic scene_and in 1928_he made his first classic film,_The_Passion of Joan_of_Arc._Working from_the transcripts of_Joan's_trial, he_created_a masterpiece of emotion that drew_equally_on realism and expressionism. Dreyer used private_finance from Baron Nicolas_de_Gunzburg to make his_next film as the Danish_film industry was in financial ruin._Vampyr (1932)_is a_surreal meditation on fear. Logic gave way to mood and atmosphere_in this story of a man_protecting two sisters from_a vampire._The_movie contains many_indelible_images, such_as the hero, played by de Gunzburg_(under the_screen name Julian West), dreaming of_his own burial and_the_animal blood lust on the face_of one of the sisters as_she suffers under the vampire's_spell._The_film was shot mostly silent_but with sparse, cryptic dialogue in_three separate versions_– English, French and German.

Both films were_box_office failures, and Dreyer did not_make_another movie until 1943. Denmark was_by_now_under Nazi occupation, and his_Day of Wrath had as its_theme the paranoia surrounding witch hunts in the seventeenth_century in a_strongly theocratic culture. With this_work,_Dreyer_established the style that would mark his sound films: careful_compositions, stark_monochrome cinematography, and_very long takes. In the more than a decade before_his next full-length feature film, Dreyer made_two documentaries. In 1955, he made Ordet (The Word) based