When an actor enters the frame from the side, there is often no dramatic tension, so whenever there was a reason for it Kinski would make his appearance from directly behind the camera. If he wanted to spin into frame from the left, he would position himself next to the camera, with his left foot next to the tripod. Then he would step over the tripod with his right leg, twisting his foot inward. The whole body would unwind before the camera, allowing him to spin smoothly into frame, which created a mysterious nervousness.
– Werner Herzog in A Guide for the Perplexed
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