Question: John Taverner composed the score for the movie Pilgrimage by which writer?
Context: Taverner Consort and Players is a period instrument ensemble: baroque orchestra (Players), vocal consort (Consort) and Choir, named after the 16th-century English composer John Taverner. Westron Wynde is an early 16th-century song whose tune was used as the basis (cantus firmus) of Masses by English composers John Taverner, Christopher Tye and John Sheppard.  The tune first appears with words in a partbook of around 1530, which contains mainly keyboard music.  Historians believe that the lyrics are a few hundred years older ('Middle English') and the words are a fragment of medieval poetry. Sir John Kenneth Tavener (28 January 1944 – 12 November 2013) was an English composer, known for his extensive output of religious works, including "The Protecting Veil", "Song for Athene" and "The Lamb". Taverner is an opera with music and libretto by Peter Maxwell Davies.  It is based on the life of the 16th-century English composer John Taverner, but in what Davies himself acknowledged was a non-realistic treatment.  The gestation for the opera dated as far back as 1956 during Davies's years in Manchester, and continued when he went to Princeton University in 1962.  Davies produced several instrumental works related to the opera during this gestation period, including the "Points and Dances from 'Taverner and the "Second Fantasia on John Taverner's "In Nomine"".  Davies had completed the opera in 1968, but lost parts of the score in a fire at his Dorset cottage in 1969, which necessitated recomposition. Pilgrimage is a 2001 documentary film by Werner Herzog.  Accompanied only by music the film alternates between shots of pilgrims near the tomb of Saint Sergei in Sergiyev Posad, Russia and pilgrims at the Basilica of Guadalupe in Mexico.  The score was composed by John Tavener and performed by the BBC Symphony Orchestra with vocal accompaniment by Parvin Cox and the Westminster Cathedral Choir.  The film begins with a supposed quote by Thomas à Kempis, invented by Herzog. Nicholas Ludford (c. 1485 – c. 1557) was an English composer of the Tudor period.  He is known for his festal masses, which are preserved in two early-16th-century choirbooks, the Caius Choirbook at Caius College, Cambridge, and the Lambeth Choirbook at Lambeth Palace, London.  His surviving antiphons, all incomplete, are copied in the Peterhouse Partbooks (Henrican set).  Ludford is well-known as being the composer of the only surviving cycle of Lady Masses, small-scale settings of the Ordinary and Propers in three parts to be sung in the smaller chapels of religious institutions on each day of the week.  Ludford's composing career, which appears to have ended in 1535, is seen as bridging the gap between the music of Fayrfax and that of John Taverner (1495–1545).  Music scholar David Skinner has called Ludford "one of the last unsung geniuses of Tudor polyphony".  In his "Oxford History of English Music", John Caldwell observes of Ludford's six-part Mass and Magnificat "Benedicta" that it "is more a matter of astonishment that such mastery should be displayed by a composer of whom virtually nothing was known until modern times". John Taverner (1584–1638) was the second son of Peter Taverner, the second son of Richard Taverner. Thomas Ashwell or Ashewell (c. 1478 – after 1513 (possibly 1527?))  was an English composer of the Renaissance.  He was a skilled composer of polyphony, and may have been the teacher of John Taverner. Ross Pople (born 11 May 1945) is a New Zealand-born British conductor.  He is the principal conductor of the London Festival Orchestra.  He has worked with Yehudi Menuhin, Clifford Curzon, David Oistrakh, Kentner, George Malcolm, Sir Adrian Boult, Rudolf Kempe, Benjamin Britten, Witold Lutosławski, Krzysztof Penderecki, Michael Tippett, Georg Solti, Leonard Bernstein, George Benjamin, John Casken, Edwin Roxburgh, Luciano Berio, John Taverner, Malcolm Arnold, Pierre Boulez as well as many other major orchestras, choirs and soloists. Edward Paston (1550–1630), second son of Sir Thomas Paston, was a Catholic gentleman of Norfolk, a poet, and amateur musician living in the reign of Elizabeth I.  He is an important figure in the musical history of England, his love of music driving him to acquire and copy musical manuscripts from some of the most important composers of the Renaissance, resulting in a unique performing collection of 16th-century house music that included works by William Byrd, Thomas Tallis, John Taverner, and Orlando di Lasso.  He was especially interested in Byrd, and one of his books is the largest source of consort songs by that composer.  Paston played the lute, creating a wide range of vocal settings and accompanying tablatures in partbooks that are still obtainable.  As a young man he travelled extensively in Spain, being influenced by the Spanish (and Italian) form of tablature, as seen in his partbooks, rather than the generally used French form.
Answer: Werner Herzog