| Signature/Trademark | Director |
|---|
| Nonlinear modern noirs | |
| Vietnam and US presidents | |
| Fast-paced witty dialogue | |
| Revenge, brutality and precision | |
| Puppets | |
| The Mafia, De Niro and New York | |
| 3 interlocking circles | |
| Perfectionism and classical music | |
| Gallows humor and sardonic violence | |
| A childlike sense of wonder | |
| Light, elegant, sophisticated 'touch' | |
| Heists w/ minimal dialogue | |
| Arctic austerity | |
| Love, Paris and Antoine Doinel | |
| Rotoscoping and adult animation | |
| Crudity and camp | |
| Long takes, morality and Belgium | |
| Trains, stunts and slapstick | |
| Stop-motion mixed w/ live action | |
| Road movies and rock music | |
| Shadows, Expressionism and crime | |
| Deadpan B/W meditations on boredom | |
| Painted, scratched and glued film stock | |
| Dolly 'rush-ins' and Bruce Campbell | |
| Sweeping cinemascope epics | |
| Sex, politics and history | |
| American race relations | |
| Neurotic Jewish intellectual leads | |
| Slow-motion blood spurts | |
| Dense, imaginative dark comedies | |
| Improvisation, NYC and masculinity | |
| Jump cuts, Marxism and Anna Karina | |
| Anticlerical, anti-bourgeois surrealism | |
| Montage and Soviet propaganda | |
| | Signature/Trademark | Director |
|---|
| Helicopters and sunsets | |
| Twist endings | |
| Marlene Dietrich in soft focus | |
| Existential reveries on modern life | |
| Split-screen and psychological thrills | |
| Body horror | |
| Blondes, Freud and McGuffins | |
| Alternating indie and mainstream | |
| Long takes, car rides and Iran | |
| Long takes, tracking shots and Greece | |
| Revisionist revenge westerns | |
| Literary costume dramas | |
| Deep focus B/W noirs | |
| Flamboyant technicolor musicals | |
| Italian horror and colored lighting | |
| 1138 | |
| Ensemble casts | |
| 80's pop music, teens and Shermer, IL | |
| Obsessive dreamers and madmen | |
| Big-budget genre blockbusters | |
| Sex, desire and family | |
| Long takes, geisha and Japan | |
| 'Message' movies | |
| Saturated colors and Gong Li | |
| Oscar-winning comedies and noir | |
| Terribleness | |
| Metaphysics, memory and time | |
| Doves and explosions | |
| Style, mood and repeated music | |
| Low budget double features and Poe | |
| Gimmicks | |
| Parodies and puns | |
| Low, static camera w/ 50mm lens | |
| Spaghetti westerns | |
| | Signature/Trademark | Director |
|---|
| Gore, shock and yakuza | |
| Wry, stilted, deadpan delivery | |
| Sex, alienation and discomfort | |
| Giallo | |
| DIY FX, synthesizers and Kurt Russell | |
| Taiwan's troubled history | |
| Zombies | |
| Long takes, B/W and Hungary | |
| Sex, composers and psychedelia | |
| Jimmy Stewart w/ a dark past | |
| Winnipeg and silent movie styles | |
| Gothic art design | |
| Sentimental feel-good wholesomeness | |
| Rome, upperclass decadence and sex | |
| Monument Valley | |
| Shy vagrant with derby and mustache | |
| Darkness, rain and grime | |
| Moral dilemmas and long talks | |
| Vermeer, Nyman, numbers and lists | |
| Non-actors, realism and Ingrid Bergman | |
| Emotional gauntlets and controversy | |
| Opulence, crane shots and female leads | |
| Suburbia, NJ and Silent Bob | |
| French countryside and poetic realism | |
| Quirky highbrow humor | |
| Dream sequences and vintage music | |
| Working class UK and social realism | |
| Animation and environmentalism | |
| Samurai | |
| Cyborgs and basset hounds | |
| Film references and ironic violence | |
| Symbolic technicolor melodramas | |
|
