When German filmmaker Werner Herzog directs or produces three documentaries on the creation and recording of the music of three of his films between 2005 and 2011, he performs a double gesture of revelation and incarnation: the notes become visible through the body of the musicians. In doing so, Herzog reveals his poetic art: musical forms respond to nature, so present in his films; nature is seen as an instrument of harmony while music becomes a power of estrangement, getting our perceptions out of tune; and by giving us access to both the infigurable – the moral being – and the material body made of flesh and bone, the music opens a path to the heart of the world.