The Most Idiosyncratic Director Of Hollywood

There are some directors whose movies you can turn on halfway through with no prior information whatsoever, watch for about a few seconds and immediately recognize.

There is something so specific or recognizable about their filming style that it can’t help but come in throughout the movie, maybe even in every single frame.

Idiosyncrancy in cinematography

PIcture from studio binder

Wes Anderson is also one of the most in Hollywood but in this article, I will talk about it from a cinematography point of view.

Some directors tend to express their personalities more through cinematography. That does not mean their voices aren’t expressed in other ways in their films but it’s definitely the most obvious.

If the picture hasn’t been cut about for five minutes and it’s choreographed with action like a ballet seems to have a mind of its own occasionally then it’s possible you are watching an Alfonso Cuaron movie.

If everyone seems to be looking in the same direction even if they are looking at each other then you probably are watching a Yasujiro Ozu flick.

You are on a long lens staring up at a character looking off into the distance dollying around them then voila, you got a Michael Bay action film on your screen and if every single shot has a crazy lens flare then well, you know who that is.

You do right.

It’s J.J. Abrams y’all.

On the other hand, a Spielberg picture will have a beautifully staged sequence shot on a dolly with characters moving into and out of different scales and compositions, strongly backlit if not silhouetted and a David Fincher movie will have a soft amber tone and immense sense visual sharpness and almost entirely precise panning of the camera.

If you guys are all familiar you can pick the films of Tarsem Singh, Busby Berkely, Paul Greengrass, Sergio Leone, and Jean-Pierre Jeunet by their Cinematography too.

But there is a director whose every single image is dripping with his own particular visual fetish to our eye. His every scene is filled with his amazing idiosyncratic visuals that you can recognize almost instantly when you look at a scene or sometimes even a screenshot of a paused scene.




GASPAR NOE; The Most Idiosyncratic Director Of Hollywood


What started as a slightly too intense color palette in searching camera in I STAND ALONE(1998) became an impressively saturated glare and wild freewheeling point of view in IRREVERSIBLE(2002) and eventually bloomed into a constantly pulsating neon and floating disembodied soul of a camera that seems to move hypnotically through space and time in ENTER THE VOID(2009).

His movie LOVE(2015) held strong with the lighting but took a step back in the camera and had us questioning our guts.

His immersive horror of CLIMAX(2018) seems to be his return to form always justified by the story noise, aesthetics, shock and awe, and disoriented and showed us the world in a completely different way.

I will do a separate review of his Immersive Horror movie CLIMAX(2008).

Yet again and again he was able to surprise us in every single one of his movies, like in his latest movie vortex he completely shocked us with (I guess we can call normal) cinematography and story with a bit of Gaspar Noe spice.

As I said earlier, He is the most eccentric and Idiosyncratic director of all time from a cinematography point of view. Though there are other aspects present too, the cinematography is the most peculiar.

I will write about other directors who not only deserve to be in a piece like this but maybe are capable of more in some other areas.

A similar piece.

You know it’s Wes Anderson if

You know it’s P.T. Anderson if

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