One of the leading nonfiction filmmakers of his generation, Errol Morris has pioneered an approach to the documentary that marks a modernist departure from the observational techniques of cinema verité. Like the nonfiction practitioners of the French New Wave (Resnais, Marker, Rouch), Morris has addressed some of the most profound questions of our time: life and death, good and evil, truth and fiction. But rather than finding his subjects on the streets of Paris or the plains of Africa, Morris has conducted his work in some of the most unlikely places—a pet cemetery in Northern California, a Texas courtroom, a backwater town in Florida. A formal innovator as well, Morris has gained critical attention for the scoring of his documentaries, by such contemporary composers as Philip Glass and the late Caleb Sampson, and for creating a distinctive, directed look to the imagery he creates to make sense of that odd phenomenon called reality.