As the filmmaker, Morris has made superb decisions. He has teamed once again with composer Philip Glass, whose repetitive, keening score haunts the film with what Morris calls "existential dread." In the interview segments, Robert Chappell's camerawork is impeccable, even breathtaking. For long stretches, he places McNamara in a corner of the shot; then he shifts to a different corner, shooting from slightly above or below. In this way, the camera mirrors our efforts: Like us, it is attempting to locate McNamara, to uncover him, to truly see him. Also like us, the camera is never entirely certain that it can.