This essay explores Werner Herzog's films and how he uses the art of silence in his documentaries.

It covers interviewing-technique and editing, both pacing and the overarching structure of scenes, and should be interesting for Herzog fans and documentarians especially.

The footage is from The Great Ecstasy of Woodcarver Steiner, Wings of Hope, Little Dieter Needs to Fly, Grizzly Man, Encounters at the End of the World, On Death Row, Cave of Forgotten Dreams, and Lo and Behold.

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