RE: WIELAND SCHULZ [KEIlL Of Cyber Cinema/Mediastadt Babelsberg/ .....VOLUME I, # 1, APRIL 1997

 THE INTERNATIONAL WIELAND SCHULZ [KEIL]

 WIELAND-SCHWEIN WILD BOAR JAGD SOCIETY JOURNAL Eingetragener Verein O.H., Societe 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... 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 didnt pay, stealing from a brother who had been tempted by the line= =Well mak 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 didnt 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; 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...

 1985ÃÆ’ƒÂ¢ÃÆ’¢â€šÂ¬ÃÆ’‚¦.

 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  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 he 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 asthough 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 arm and 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 fiduciary 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 ÃÆ’ƒÂ¢ÃÆ’¢â€šÂ¬ÃÆ’¢â‚¬Åâ€Å“ 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=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 Houstons 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, as now he has inveigled himself into Filmstadt Babelsberg.