Editing Rainer Werner Fassbinder (section)

==Early films and acclaim==
Fassbinder used his theatrical work as a springboard for making films; and many of the Anti-Theater actors and crew worked with him throughout his entire career (for instance, he made 20 films each with actresses Hanna Schygulla and Irm Herrmann). He was strongly influenced by Brecht's ''[[Verfremdungseffekt]]'' (alienation effect) and the [[French New Wave]] cinema, particularly the works of [[Jean-Luc Godard]].<ref>{{harv|Watson|1996|p=111}}</ref><ref>{{harv|Elsaesser|1996|p=348}}</ref> He also praised ''[[The Damned (1969 film)|The Damned]]'' (1969) by [[Luchino Visconti]] his favorite movie. Other filmmakers who influenced Fassbinder included [[Howard Hawks]], [[Michael Curtiz]], [[Raoul Walsh]], and [[Nicholas Ray]].<ref>{{Cite web |title=10 great films that inspired Rainer Werner Fassbinder |url=https://www.bfi.org.uk/lists/10-great-films-inspired-rainer-werner-fassbinder |access-date=29 October 2022 |publisher=British Film Institute |date=6 April 2017 |language=en}}</ref>

Fassbinder developed his rapid working methods early. Because he knew his actors and technicians so well, Fassbinder was able to complete as many as four or five films per year on extremely low budgets. This allowed him to compete successfully for the government grants needed to continue making films.

Unlike the other major ''auteurs'' of the New German Cinema, [[Volker Schlöndorff]], [[Werner Herzog]] and [[Wim Wenders]], who started out making movies, Fassbinder's stage background was evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility surfaced in his films too where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. He also appeared in 30 projects of other directors.

By 1976, Fassbinder had gained international prominence, prizes at major film festivals, premieres and retrospectives in Paris, New York and Los Angeles, and a study of his work by [[Tony Rayns]] had been published. All these factors helped make him a familiar name among cinephiles and campus audiences throughout the world. He lived in Munich when not traveling, rented a house in Paris with ex-wife Ingrid Caven.<ref name="nicodemus">{{cite web |url=http://www.signandsight.com/features/1372.html |title=No morals without style |last=Nicodemus |first=Katja |date=31 May 2007 |publisher=signandsight.com}}</ref> He was often seen in gay bars in New York, earning him cult hero status, but also a controversial reputation in and out of his films. His films were a fixture in art houses of the time after he became internationally known with ''[[Ali: Fear Eats the Soul]]''. In 1977, he was a member of the jury at the [[27th Berlin International Film Festival]].<ref>{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1977/04_jury_1977/04_Jury_1977.html |title=Berlinale 1977: Juries |publisher=berlinale.de |language=de |access-date=19 July 2010}}</ref>