Wim Wenders

His ten planets divide three in air, three in water, two in fire and two in earth, with no element scarce and no mode dominant, and Mercury alone was retrograde. There are no closed figures in this chart at all. The record calls Wenders a German director and names Paris, Texas.

This is the thinnest chart in the batch and the reason is worth stating. Four of its six closest contacts involve the Moon, and his Moon sits on the fourth degree of Scorpio at noon with Libra still possible, so all four have to be set aside. The tightest of them, the Sun a fifth of the way round from the Moon at six hundredths of a degree, would otherwise have been among the closest contacts in the whole of this set. Without a birth time it is unusable, and pretending otherwise is the one thing this project will not do. A director gets one line in this record and his chart gets rather less, and saying so is more use to a reader than inventing the difference.

What is left is two contacts, both over a degree. Venus sits in quiet contact with Pluto at just over a degree, which is depth in relating: loyalty that survives difficulty, and an instinct for what somebody actually needs. The Sun sits in mild friction with Neptune at just over a degree and a half, the self obscured, confusion about direction, and vitality that comes and goes for no clear reason. In a director whose record is one film title, a chart this reticent is at least not a contradiction.

The Sun sits at twenty one degrees of Leo with Pluto at ten, where identity is unusually solid and unusually visible. Jupiter came back to its Virgo birth degree on 30 August 2016, at seventy one, and five laps precede it. Virgo measures a thing by whether it was done properly, which for a record naming one film and nothing beside it is a question it does not try to answer. An evenly divided chart with no figures in it and its best contact unusable is what this one is, and that is a fact about the record rather than about the man.