A passionate cook, acclaimed filmmaker Werner Herzog stuffs some culinary aromatics into his shoe and uses the laces to truss it like a chicken, before he sticks it into a pot with water and duck fat to stew it. It is so that he can bring the stewed shoe to one of the first screenings of Errol Morris’ debut film Gates of Heaven (1978) to eat it. This act will fulfill his loss of a bet to Morris, who he met as a student filmmaker, that he would never be able to make a movie. The bet was not Herzog’s attempt of a jab against Morris, but rather to support a struggling but gifted Morris in his quest to do whatever was required to finance a movie project. In the process of eating the shoe, Herzog wants to encourage other aspiring filmmakers, and to set an agenda of increasing what he calls adequate images as a true reflection of the world.