This essay explores Werner Herzog's films and how he uses the Power of Silence in his documentaries. I'm looking at Herzo films from throughout most of his career - the mid 70's until now. 　　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.