“I like the idea of making films about ostensibly nothing,” [Errol] Morris told The New Yorker’s Mark Singer. “That’s what all my movies are about. That and the idea that we’re in a position of certainty, truth, infallible knowledge, when actually we’re just a bunch of apes running around.”
He may say he’s a filmmaker, but he smells like a lawyer to me. Check out his rationalizations for Why It Makes Sense to Beat a Dead Horse.