<LINK_TEXT text=“http://film.guardian.co.uk/features/pag … 23,00.html”>40 best directors | Features | guardian.co.uk Film</LINK_TEXT>
Although the opening paragraph,“The Hollywood blockbuster may be in crisis, but the art of the cinema is as healthy as ever” is a bit too optimistic when you consider this snippet from http://www.mastersofcinema.org/
[size=90]June 23, 2005
[TERENCE DAVIES]
In the flurry of recent Cannes news, a major disappointment was quietly announced: Terence Davies’ long-planned adaptation of Lewis Grassic Gibbon’s Sunset Song has been canceled due to a “complete lack of interest” by the BBC, Channel 4 and the UK Film Council. This, despite the fact that Davies was recently voted as the best living director in the UK by the Guardian. The mediocre aspirations of film financing continue to marginalize this talented filmmaker (many of whose works have not yet appeared on DVD) and increase our cynicism about the rift between art and commerce. - D.C. [/size]
Here is the list, although click on The Guardian’s link for explanations for their choices.
1. David Lynch
2. Martin Scorsese
3. Joel and Ethan Coen
4. Steven Soderbergh
5. Terrence Malick
6. Abbas Kiarostami
7. Errol Morris
8. Hayao Miyazaki
9. David Cronenberg
10. Terence Davies
11. Lukas Moodysson
12. Lynne Ramsay
13. Bela Tarr
14. Wong Kar-wai
15. Pedro Almodovar
16. Todd Haynes
17. Quentin Tarantino
18. Tsai Ming-Liang
19. Aki Kaurismaki
20. Michael Winterbottom
21. Paul Thomas Anderson
22. Michael Haneke
23. Walter Salles
24. Alexander Payne
25. Spike Jonze
26. Aleksandr Sokurov
27. Ang Lee
28. Michael Moore
29. Wes Anderson
30. Takeshi Kitano
31. Richard Linklater
32. Gaspar Noé
33. Pavel Pawlikowski
34. David O Russell
35. Larry and Andy Wachowski
36. Samira Makhmalbaf
37. Lars von Trier
38. Takashi Miike
39. David Fincher
40. Gus Van Sant
You might argue about the positionings but it is a much better list than fucking Empire’s. Each director on this particular list has been rated according to substance, look, craft, originality and intelligence. And if you work for the BBC, Channel 4 and UK Film Council go fuck yourself. Anyone who says " film is a business, no doubt about that" will be buggered by barbed wire.
rather strange list
In what way?
(Don’t worry, I’m not being defensive, just curious to your reason why you think the list is strange.)
Yeah. The positioning is definitely off. Otherwise its an all right list, not great though.
Here is the article in full [NB: There are links to interviews and articles on the article’s webpage so go to there for more information]:
The world’s 40 best directors
[i]The Hollywood blockbuster may be in crisis, but the art of the cinema is as healthy as ever. Our panel of critics picks out the film-makers who are leading the way
- David Lynch
After all the discussion, no one could fault the conclusion that David Lynch is the most important film-maker of the current era. Providing a portal into the collective subconscious, the daydream nation conjured up in tales such as Blue Velvet, Lost Highway or Mulholland Drive is by turns frightening, exasperating, revelatory and wild. Nobody makes films like David Lynch. He is our spooky tour guide through a world of dancing dwarves, femme fatales and little blue boxes that may (or may not) contain all the answers. We wouldn’t want to live in the places he takes us. Somehow, we suspect, we do.
Substance 17
Look 18
Craft 18
Originality 19
Intelligence 17
Total 89
- Martin Scorsese
Scorsese’s influence is impossible to overstate. His red-blooded canon has spawned a generation of copycats while his muscular style has become a template. That said, opinion is divided over the man’s recent output. Some regard his monumental Gangs of New York as a classic to rank alongside Taxi Driver and Raging Bull. Others worry that the heavyweight champion of American movies is no longer quite punching his weight.
Substance 17
Look 18
Craft 18
Originality 17
Intelligence 18
Total 88
- Joel and Ethan Coen
Their latest film, Intolerable Cruelty, may have marked a new, “commercial” phase in their career, but no one could ever accuse the Coen brothers of selling out. The Coens’ special mix of arch, sculpted dialogue, film-history homage and scrupulously-framed cinematography has never failed them yet, and through their associations with Sam Raimi and Barry Sonnenfeld, have exerted a powerful, if unacknowledged, influence on mainstream event cinema. Until Fargo, they seemed content to mess about in their own particular corner of the film industry; that film’s stunning popular success suddenly catapulted them into the Hollywood big league.
Substance 14
Look 18
Craft 18
Originality 18
Intelligence 18
Total 86
- Steven Soderbergh
Steven Soderbergh is a one-off: an independent-minded film-maker who has forged a happy working relationship with Hollywood. This is thanks to a brilliant balancing act. Soderbergh soothes the studios with expert, intelligent crowd-pleasers like Erin Brockovich and Ocean’s Eleven then shifts gear for more esoteric, personal projects (Solaris, Full Frontal). His ongoing alliance with George Clooney, moreover, is the most reliable director-star double act since Scorsese found De Niro.
Substance 16
Look 17
Craft 18
Originality 16
Intelligence 18
Total 85
- Terrence Malick
The lofty ranking of Terrence Malick just goes to show that it’s quality, not quantity, that counts. Renowned as a ghostly, Garbo-style recluse, this fabled figure has made just three films over three decades. Even so, the wild beauty of his 1973 debut Badlands casts a formidable shadow, while his sprawling 1999 war epic The Thin Red Line at least proved that the master had lost none of his magic. Next up, apparently, is a biopic of Che Guevara. But don’t hold your breath.
Substance 16
Look 18
Craft 17
Originality 17
Intelligence 17
Total 85
- Abbas Kiarostami
The highest ranking non-American, and one of the most respected film-makers working today - by his peers if not the general public. Operating mostly in rural Iran, Kiarostami has often concealed potentially life-threatening political commentary within films of simplicity and compassion. But he has complicated his medium, too, by mixing drama and documentary, and actors and non-actors, to dizzying effect. His recent in-car drama Ten provided a daring Tehran exposé as well as a radical new film-making technique - one that almost does away with the director entirely.
Substance 18
Look 15
Craft 16
Originality 17
Intelligence 18
Total 84
- Errol Morris
Morris is the joker in this top 10, in that his position is solely down to his documentaries. Put simply, Morris is the world’s best investigative film-maker. He possesses a forensic mind, a painter’s eye and a nose for the dark absurdities of American life. High points include The Thin Blue Line (which unearths the nightmarish truth behind a Dallas cop killing), Mr Death (a treatise on execution-device inventor and Holocaust denier Fred Leuchter Jr), and the forthcoming Fog of War, his compelling autopsy on the war in Vietnam.
Substance 17
Look 16
Craft 17
Originality 17
Intelligence 17
Total 84
- Hayao Miyazaki
It’s about time the rest of the world came to appreciate the genius of Japanese animator Miyazaki, whose films have been breaking box-office records in Japan for years. He’s now in his 60s, but as this year’s Spirited Away proved, the work just keeps getting better. His films create the world anew, literally. Each is set in an intricate, self-contained fantasy world that’s been built from scratch and drawn with devotion. Miyazaki’s stories are frequently considered children’s fare but they are deeper than they look - like the best fairy tales, they conceal dark, very adult themes beneath their surfaces.
Substance 15
Look 18
Craft 17
Originality 18
Intelligence 16
Total 84 [/i]
9. David Cronenberg
Few directors have ploughed such distinctive furrows as Cronenberg. And now in his fourth decade of film-making, he is still at the cutting edge. Crash set the entire film world agog with its bizarre sexual constructs; eXistenZ examined the implications of the virtual world more thoughtfully than most; and Spider superbly summoned up a bleak, decaying Britishness (largely forgotten by our own film-makers). His next film, with Nicolas Cage playing a plastic-surgery fetishist, is already inducing shudders.
Substance 16
Look 17
Craft 16
Originality 18
Intelligence 16
Total 83
10. Terence Davies
Our highest-placed British film-maker is here because of his uncompromising and unique cinematic vision; but, with painful irony, it’s also made him the highest-profile victim of Britain’s commercial film industry revival. Emerging from the state-sponsored art-film sector in the mid-80s, Davies completed a trilogy of short films and two features - Distant Voices, Still Lives and The Long Day Closes. But, in a more cut-throat environment, the sensitive Davies has suffered, making only two films in a decade - one of them the international hit The House of Mirth. So it seems a shame - and somehow scandalous - that his current project, an adaptation of Lewis Grassic Gibbon’s Sunset Song, should be facing major funding obstacles.
Substance 17
Look 17
Craft 16
Originality 16
Intelligence 17
Total 83
11. Lukas Moodysson
You would assume that the surest way to hobble a young Swedish film-maker is to label him “the new Bergman”. Fortunately, Lukas Moodysson seems immune to such pressure. His 2001 hit Together - about hippies living communally in 1970s Stockholm - was warm, witty and altogether disarming. By contrast, his follow-up, Lilya 4-Ever (about a Russian teen dragooned into prostitution), was a social-realist vision of hell. Heartfelt and uncompromising, Moodysson treads his own path.
Substance 17
Look 16
Craft 17
Originality 17
Intelligence 16
Total 83
12. Lynne Ramsay
Ramsay, the second highest-placed Brit - and the highest woman of any nationality - has trodden a distinctive path through the lottery-fuelled sludge of modern British cinema. Her first film, Ratcatcher, set during the binmen strikes of 70s Glasgow, was the anti-Billy Elliot; her second, adapted from Alan Warner’s novel More about Morvern Callar, confirmed her promise. Morvern is an authentic modern classic, with an actress, Samantha Morton, whose blank-faced performance is a perfect complement to Ramsay’s studied camerawork.
13. Bela Tarr
In just a few years, the Hungarian director has emerged from obscurity to be revered as the Tarkovsky of his generation, with his dark and mysterious monochrome parables, shot with uncompromisingly long, slow single camera takes. His recent Werckmeister Harmonies was a dreamlike film: compelling and sublime. From 1994, Satantango has cult status on the festival circuit, not least for its awe-inspiring length: seven hours. He is now developing a movie at least partly set in London.
Substance 16
Look 16
Craft 16
Originality 18
Intelligence 16
Total 82
14. Wong Kar-wai
Hong Kong has become synonymous with action cinema, but Wong Kar-Wai is one of few exceptions. His trademark portraits of quirky urban longing have influenced Asian film as a whole, but the delectably sensuous In the Mood for Love proved that Wong is still improving (and that he has one of the best cinematographers in the business in Christopher Doyle). Next up he’s making a sci-fi movie - should be interesting.
Substance 14
Look 18
Craft 17
Originality 17
Intelligence 16
Total 82
15. Pedro Almodovar
Post-Franco Spain needed Almodovar like a desert needs rain. His early films were gaudy, bawdy and loud; drunken celebrations of the country’s new-found social and sexual freedoms. But Almodovar is much more than some posturing agent provocateur. He spins soulful, spellbinding stories and creates characters that ring with life. All About My Mother and Talk to Her were exotic masterpieces that confirmed their creator as the most important Spanish director since Luis Buñuel.
Substance 15
Look 16
Craft 16
Originality 18
Intelligence 16
Total 81
16. Todd Haynes
In retrospect, it seems such a simple idea - take your favourite director (in Haynes’ case, Douglas Sirk) and faithfully imitate their style and meaning, subtly changing things enough to throw a whole new meaning on an entire historical epoch and film genre. In 1996 Haynes had made an earlier masterpiece, Safe; few directors could have topped that, but Far From Heaven managed it.
Substance 16
Look 16
Craft 16
Originality 16
Intelligence 17
Total 81
17. Quentin Tarantino
The jury may still be undecided on the virtues of Kill Bill, but no one can deny the massive impact the former video-store clerk has had on cinema across the world. The chewy, minutiae-obsessed dialogue and abundant bloodletting of Reservoir Dogs and Pulp Fiction catapulted him to era-defining stature and influence beyond the wildest dreams of any director; had this poll been taken in 1995, he would have been top three, no question. But Tarantino has since been the victim of his own success: he took three years to make his third film, Jackie Brown, and another six to make his fourth. Perhaps inevitably, neither of them made the splash of his first two, but whatever else, Tarantino can still make the simple act of watching a film seem oh-so-exciting.
Substance 14
Look 17
Craft 18
Originality 18
Intelligence 14
Total 81
18. Tsai Ming-Liang
One of the least well-known names on the list, but a director who has steadily refined his own gentle, bittersweet style. Using his native Taipei as a backdrop, Tsai distills the complexity and alienation of city life into films that are austere, unhurried and emotional, but also comical. His pre-apocalyptic The Hole included 1950s musical numbers, for example, while What Time Is It There? paid homage to Harold Lloyd in a movie about death and loneliness. In his latest, Goodbye Dragon Inn, he has almost done away with dialogue altogether.
Substance 15
Look 16
Craft 16
Originality 16
Intelligence 17
Total 80
19. Aki Kaurismaki
Cinema needs the occasional breath of fresh air, and you can always rely on Kaurismaki to provide it. Coming from Finland, he had a head start, but where other quirky directors last a film or two, Kaurismaki seems to have a bottomless pool of eccentric ideas to draw from. His films are an acquired taste, but they never pander to good taste. For a supposed director of art films, he’s more interested in the world out on the street, or in the gutter. And his most recent, The Man Without a Past, saw him re-emerge into the global spotlight after some years at its fringe.
Substance 15
Look 15
Craft 16
Originality 18
Intelligence 16
Total 80
20. Michael Winterbottom
Winterbottom’s career presents a study in motion. His films spirit us from Hardy’s Wessex (Jude) to war-torn Bosnia (Welcome to Sarajevo), and from post-punk Manchester (24 Hour Party People) to the asylum-seekers’ “silk road” out of Pakistan (In This World). As well as being technically brilliant and a seeming workaholic, Winterbottom is arguably the most politically astute director in the business, with an unerring eye for the stories that matter. British cinema would be lost without him.
Substance 16
Look 15
Craft 17
Originality 16
Intelligence 16
Total 80
21. Paul Thomas Anderson
There is something wonderfully fearless about 33-year-old Paul Thomas Anderson. His two best pictures (Boogie Nights and Magnolia) are works of gob-smacking ambition in one so young - lush, multi-layered ensemble pieces that spotlight the damaged souls of his native San Fernando Valley. But let’s not forget the recent Punch-Drunk Love, starring Adam Sandler and Emily Watson. Smaller in scale but no less turbulent, this undervalued effort is like a nail bomb in the guise of a romantic comedy.
Substance 15
Look 16
Craft 16
Originality 17
Intelligence 15
Total 79
22. Michael Haneke
No one, perhaps not even Gaspar Noé, delivers more hardcore horror than the German-born Austrian Haneke - even when his shocks are happening off camera, which they mostly do. After a long career in TV, Haneke graduated to the big screen in the early 90s and audiences quickly came to know they were in for a profoundly uncomfortable experience.The Piano Teacher, with Isabelle Huppert, was a disquieting study of a musician driven to agonies of despair and self-loathing. More recently, Time of the Wolf was an almost unwatchably horrible vision of post-apocalyptic Europe.
Substance 16
Look 13
Craft 16
Originality 17
Intelligence 17
Total 79
23. Walter Salles
The godfather and trailblazer of the buena onda - the “good wave” of contemporary Latin American cinema, Salles’s directorial reputation rests largely on two recent films, Central Station and Behind the Sun, which virtually on their own put Brazilian cinema on the map. Salles has just finished another road movie, The Motorcycle Diaries, based on Che Guevara’s book, for Britain’s FilmFour, and is finally going Hollywood with a remake of Hideo “Ring” Nakata’s Dark Water. But Salles is equally notable as a facilitator for other Brazilian projects - most importantly the sensational City of God, which he co-produced.
Substance 16
Look 16
Craft 16
Originality 15
Intelligence 16
Total 79
24. Alexander Payne
Payne came to prominence in 1999 with his stunning high school satire Election, the Animal Farm of American sexual politics in the Clinton era. From here, Payne went on to direct About Schmidt, which gave Jack Nicholson the best role of his late career. With these two movies, Payne has established an auteur distinctiveness: amplifying the disappointment and regret lurking within the peppy, can-do civic culture of middle America, while acknowledging the sweetness and innocence that is still there.
Substance 16
Look 16
Craft 16
Originality 15
Intelligence 16
Total 79
25. Spike Jonze
Born into millionaire stock (and heir to the Spiegel mail-order catalogue fortune), Spike Jonze has installed himself as the genius jester in the court of King Hollywood. His 1999 debut, Being John Malkovich, was a delirious satire on celebrity culture, while Adaptation led the viewer on a slaloming joyride along the border between truth and fiction. Inevitably, though, one cannot celebrate Jonze without also crediting his scriptwriter - the ingenious Charlie Kaufman.
Substance 16
Look 14
Craft 16
Originality 17
Intelligence 16
Total 79
26. Aleksandr Sokurov
The veteran Russian director is inexhaustibly prolific, making both features and documentaries, with 31 credits to his name over a 23-year career. His movies are powerful, poetic, often severe, and at their most accessible when they meditate on the nature of Russia. Sokurov had his biggest recent success with Russian Ark: a staggeringly ambitious single-take 90-minute journey through the Hermitage Museum in St Petersburg. His latest movie, Father And Son, is an enigmatic and often baffling study of a father-son relationship between two soldiers. His work gets a lively, mixed reaction in the west, but Sokurov’s admirers revere the haunting, occasionally austere power of his films.
Substance 16
Look 15
Craft 16
Originality 16
Intelligence 16
Total 79
27. Ang Lee
He may have taken a bit of a stumble with The Hulk, his elevation to blockbusterdom, but the Taiwanese-born Lee clocked up plenty of brownie points over the preceding decade for his dazzling versatility, if nothing else. Crouching Tiger, Hidden Dragon (a record-breaker for a subtitled film), The Ice Storm, The Wedding Banquet and Sense and Sensibility are all testament to a career of wonderfully fertile cinematic cross-pollination. Lee’s proficiency at swapping genres, but retaining a purposeful humaneness, is his hallmark.
Substance 16
Look 16
Craft 17
Originality 14
Intelligence 16
Total 79
28. Michael Moore
You could say it’s Moore’s blend of humour, righteousness and persistence that has made his documentaries so successful, but his political commitment would be nothing without the film-making skills to back it up. Bowling for Columbine has been one of the most influential films of recent years, affecting the public in a way that most directors on this list will never know, but it would never have become such a cause had it not been so rigorously researched, painstakingly constructed and broadly entertaining.
Substance 17
Look 13
Craft 15
Originality 18
Intelligence 16
Total 79
29. Wes Anderson
No less an authority than Martin Scorsese recently tipped Anderson as the brightest hope for American cinema. Scripted in tandem with his actor buddy Owen Wilson, Anderson’s work is literate, quirky and unexpectedly moving. His breakthrough picture, Rushmore, amounted to a poignant salute to high-school losers everywhere. More recently, the vibrant, Salinger-esque The Royal Tenenbaums charted the decline and fall of a precocious New York family.
Substance 13
Look 16
Craft 16
Originality 17
Intelligence 16
Total 78
30. Takeshi Kitano
Few directors have ever made themselves look as cool as Kitano has. His shark-eyed gangster persona became a fixture of Japanese action thrillers in the 1990s, but behind the camera his controlled blend of visual slapstick and sudden violence has become a distinctive style. Recent efforts have seen him trying to diversify. Dolls was a subdued art film, but next year’s Zatoichi is a sword-swishing crowd pleaser.
Substance 15
Look 16
Craft 16
Originality 16
Intelligence 15
Total 78
31. Richard Linklater
Linklater is the grunge philosopher of independent cinema. Hailing from Austin, Texas, he casually defined an era with 1991’s loose-knit, haphazard Slacker. The uproarious Dazed and Confused and the seductive Before Sunrise extolled the joys of footloose youth, while his animated Waking Life spun a woozy, bong-smoking rumination on dreams and reality. Incredibly, Linklater recently graduated to the big time when his School of Rock hit number one at the US box office.
Substance 15
Look 15
Craft 15
Originality 17
Intelligence 16
Total 78
32. Gaspar Noé
Not bad for someone who’s only made two features, but Noé has made as much impact as you can with them. There’s nothing pretty about either his carnal debut Seul Contre Tous, or last year’s backwards-told rape-revenge drama Irréversible - both have challenged boundaries of decency and induced reactions as extreme as nausea and vomiting. In a supposedly unshockable age, that’s some kind of cinematic achievement.
Substance 15
Look 16
Craft 16
Originality 16
Intelligence 14
Total 77
33. Pavel Pawlikowski
With only one substantial feature under his belt, Polish-born, British-based director Pawlikowski has arguably the slenderest claim of all to be on this list. But Last Resort, with its mix of heartfelt social insight (the then-radical subject of asylum seekers) and improvisatory, documentary-style film-making, has exerted an influence of gigantic proportions on a whole generation of British cinema. Where would In This World and Dirty Pretty Things, to name but two, be without it?
Substance 16
Look 15
Craft 16
Originality 14
Intelligence 16
Total 77
34. David O Russell
Russell’s natural habitat is the dysfunctional American family. He dished up a deadpan Oedipal comedy with 1994’s Spanking the Monkey and then dispatched Ben Stiller cross-country in the freewheeling adoption caper Flirting With Disaster. Yet this tart, original talent adapts well to other terrain. On the one hand his big-budget Three Kings was an expert, high-concept war thriller. On the other, it can be read as a savage assault on bungled US policy during the first Gulf War.
Substance 15
Look 15
Craft 15
Originality 15
Intelligence 16
Total 76
35. Larry and Andy Wachowski
Now that their Matrix trilogy is finally wrapped up, it’s a good time to draw breath and appreciate the scale of the Wachowskis’ achievement. Merging the techno-porn of the contemporary action movie with the artful ballet of the Hong Kong martial arts film, the sci-fi paranoia of Philip K Dick with the visual exuberance of Japanese anime, the Matrix phenomenon utterly redefined the nature of the blockbuster movie serial, as well as relegating such mid-90s action luminaries as John Woo and Roland Emmerich to the margins. Like, awesome.
Substance 13
Look 17
Craft 17
Originality 16
Intelligence 13
Total 76
36. Samira Makhmalbaf
You could say Ms Makhmalbaf had it easy, being the daughter or one of Iran’s greatest film-makers, but she’s hardly taken any easy options. Her films get bolder and more confrontational every time - Blackboards took her into the Kurdish lands on the Iranian border; her latest, At Five in the Afternoon, was shot in the chaos of post-Taliban Afghanistan - but for all their political currency, there’s still evidence of an artistic sensibility. And she’s only 23 years old.
Substance 16
Look 15
Craft 16
Originality 14
Intelligence 15
Total 76
37. Lars von Trier
To his fans he’s the impish genius who redefined cinema with his Dogme doctrine. To his critics he’s Jeremy Beadle with a degree in anthropology. Either way, there’s no denying the impact of this phobic, Prozac-popping Dane. His most successful pictures (Breaking the Waves, The Idiots, the upcoming Dogville) are hazardous human dramas in which cruelty and compassion come equally blended. Happily there seems little danger of von Trier selling out and heading to Hollywood. He hates America and nurses a crippling fear of flying.
Substance 14
Look 15
Craft 16
Originality 17
Intelligence 14
Total 76
38. Takashi Miike
If Miike had channelled his energies into making one film every year, rather than his customary six or seven, he could be a lot further up the list. Not that you’d want him to change. Miike’s casual technical brilliance and total disregard for taste are what makes his best films such a joy. Sure, there are plenty of misfires and generic gangster pictures to his credit, too, but there’s plenty of everything when it comes to Miike, surely that can’t be bad?
Substance 14
Look 16
Craft 16
Originality 15
Intelligence 14
Total 75
39. David Fincher
Heading the list of the pop-promo-and-TV-commercial wonderkids of the early 90s, Fincher successfully brought that world’s visual inventiveness into the feature film world. In Alien 3, Seven, and Fight Club, he forged a string of visceral, unforgettable images; but his subsequent career has been dogged by aborted projects. Fincher’s most recent film, the unremarkable Panic Room, saw him in a holding pattern - it’s certainly cost him a few points.
Substance 12
Look 16
Craft 16
Originality 14
Intelligence 16
Total 74
40. Gus Van Sant
A casual observer would be forgiven for thinking that there are two Gus Van Sants at work within American cinema. The first makes gloopy studio fodder like Good Will Hunting and the odious Finding Forrester. The second is the visionary auteur of Drugstore Cowboy, Gerry, My Own Private Idaho and the Palme d’Or-winning Elephant (an elegant, ultimately devastating take on the Columbine tragedy). For the record, it is the second Gus Van Sant who gets the votes here.
Substance 14
Look 14
Craft 15
Originality 14
Intelligence 16
Total 73
WTF is Micheal Moore doing on that list? ok nice documentaries…but not all that great to be the on the 28th spot of best directors…
edit: plus…why put these clowns in: Larry and Andy Wachowski and leave John Woo out completely?
That list is kinda old, isn´t it? Speaks of “the upcoming DOGVILLE” for example.
Pretty interesting choices though.