25 Most Influential Directors of All Time.docx
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25 Most Influential Directors of All Time.docx
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25MostInfluentialDirectorsofAllTime
25MostInfluentialDirectorsofAllTime
Astimepasses,newmodelsinevitablyemerge.Inart,politicsandhistory,eachgenerationfindsitsownheroes.Inthemotionpictureindustry,though,isthatreallythecase?
Theinnovatorswhoshapedtheartformaretheonesstillassertingthemostinfluenceonmoviemakerstoday.Orsosaysastellarassemblyofdirectors,writers,actors,criticsandotherswepolledwiththisquestion:
Whoarethe25mostinfluentialdirectorsofalltime?
Thequestionisanimportantone.Influenceisdefinedasthatintangiblepowerwhichcanaffectaperson,thingorcourseofevents.Manybelievethatmotionpictures,morethananyotherartforminthepastcentury,havehadaprofoundinfluenceonmodernlife.Ifonealsoacceptsthegenerallyheldpremisethatdirectors,morethananyothercreativeforceinthefilmindustry,areresponsibleforsteeringandshapingmotionpictures,thenperhapsfilmdirectorsasagrouphavehadavastlyunderestimatedeffectonthewaysocietythinksandbehaves.
Butwhohashadthemostinfluenceonotherdirectors,aswellasthepublic?
Inthepast100years,whichdirectorshavemadeanindelibleimpactonourlives,andonthefaceofthemovieindustry?
Inwhatwayshavethesedirectorshelpedtodefinecinemaasweknowandseeittoday?
Withthehelpofsomeofourmostcelebratedmoviemakersandindustryprofessionals,wehavecounteddownthedirectorswhomadethemostdifference—andcontinuetodosotoday.
1.AlfredHitchcock(1899–1980)
AlfredHitchcockdidnotinventmoderncinema,butformuchofthepastcenturyhehasdefinedit.Inarguablythemostimitatedmotionpictureartistofalltime,aslewofspine-tinglinghitsincludingRebecca,RearWindow,VertigoandNorthbyNorthwestbroughtinternationalacclaimtotheLondon-borndirector,earninghimthemoniker“TheMasterofSuspense.”
WhileHitchcock’sworkcertainlytendedtowardthethrilling,itwasnotasmuchhisabilitytokeepaudiencesontheedgeoftheirseatsasitwastopullthemoutoftheirchairsthatmadehimalegend—drawingmoviegoersintohisfilmsandchallengingtheroleofviewerasdetachedspectator.Widelyhailedashismasterpiece,1960’sPsychotookaudiencesintotherecessesofadisturbedmind,makinguseofafast-paced,adrenaline-inducingeditingstyleandasuccessionofPOVshots.Withaperfectlymeasuredcombinationofstyleandinnovationandseamlesslyblendedbitsofhumorandromancethroughouthiswork,Hitchcock’sfilmsareawholeexperience,usuallyplayinguponavarietyofhumanemotions.
Thoughhewasconsideredalegendinhisowntime,makingmorethan65filmsinacareerthatspannedoverhalfacentury,theonlyAcademyAwardHitchcockeverwonfordirectingwasanhonoraryonegivenin1976,whenhemadehistoryonceagainbyutteringthebriefestspeechinOscarhistory:
“Thankyou.”
2.D.W.Griffith(1875–1948)
Therearetwosidestoeveryfilm—the story, and thetechniqueusedtotellit.Whilesuccessonbothpartsisthetestofanydirector’stalent,it’snotalwaysthecasethateventhemostinfluentialdirectorstriumphonbothcounts.WhilethetechniquesemployedbyD.W.Griffithserveasthefoundationofmoviemaking,formanycriticsofcinemathestorieshetoldarenowbestforgotten.
Consideredthefatherofmodernmoviemaking,Griffithmadeover450shortfilmswhileemployedatAmericanBiographintheearly1900s.Withthisprolificacycametheopportunitytoexperimentwiththemechanicsoffilm.HiscollaborationswithcinematographerBillyBitzeryieldedthediscoveryofsucheditorialinnovationsascrosscuttingandflashbacks,elevatingthemediumoffilmtooneoftruestorytellingcapabilities.
With1915’sTheBirthofaNation,Griffithmadethefilmthatwouldchangehiscareer.Thoughaudiencespouredintotheaterstoseeit,thefilm’sovertracismandheroicdepictionoftheKuKluxKlanweredeemedinappropriate,andthefilmwasbannedineightstates.Thoughthecontroversycontinuestoday(in1999,theDirectorsGuildofAmericarenamedtheD.W.GriffithAward,theirhighesthonor,theLifetimeAchievementAward,citingthatGriffith“helpedfosterintolerableracialstereotypes”),thereisnodenyinghisimpactontheindustry.
SayscriticDavidSterritt:
“Hemademanyabadmovie,andhiscareerpeteredoutwhenhisstorytellingsensefailedtokeeppacewithhisformalingenuity—andwithnewgenerationsofspectatorsboredbytheVictorianformulasheobstinatelymistookforrealexperience.Still,hisnameremainssolidlylinkedwithtechniquesanddevicestakenforgrantedtothisday,fromtheartfuluseofclose-upsandflashbackstothecomplexitiesofparalleleditingandmultiplenarrative.Hismostingeniousmovies,fromthebestBiographshortstofeatureslikeIntoleranceandthenotoriousBirthofaNation,remainasourceofideasandinspirationforopen-mindedauteursasdifferentasOliverStoneandWongKar-Wai,tomentionjusttwowhohaveclearlybenefitedfromhisbrilliance.”
3.OrsonWelles(1915–1985)
WhatD.W.Griffithinvented,OrsonWellesperfected.Withnopreviousfilmexperience,WelleswasgivenacontractwithRKOPictures(thatincludedfinalcut)whenhis1938“WaroftheWorlds”broadcastsentradiolistenersintoastateofpanic.Theresult:
CitizenKane,themoststudiedfilminhistoryofcinema.
Unliketheinnovatorsbeforehim,thetechniquesemployedbyWellesandhisKaneteam(includingDPGreggTolandandeditorRobertWise)seemcontemporaryevenbytoday’sstandards.Thefilm’suniquecinematography,accomplishedthroughtheuseofa“deepfocus”lenscreatedbyTolandspecificallyforthefilm,reevaluatedtheimpactasingleimagecouldhave.Bringingeveryperson,propandnuanceofasceneintofocus,deepfocuswidenedthecanvasonwhichWellescouldpainthispicture,sothateachviewingcouldofferupsomethingnewfortheaudience.
Forthelargerpartofhispost-KanecareerWellesfloundered.Hepushedseveralideastovariousstagesofdevelopment,butranintowallseachtimewhenhecouldn’tfindthefinancialbacking.ThoughapariahinHollywood,Welleshascontinuedtoinfluenceeachnewcropofmoviemakers,regardlessofgenre.DocumentariansAlbertandDavidMaysleswerestruckbyWelles’philosophyoffilmwhentheyspentaweekwithhiminMadridintheearly1960s.Theirnine-minuterecordingofthattimeshowsWellestalkingaboutanupcomingproject(thatwouldbecomeTheOtherSideoftheWind).HetellstheMayslesthat“Someofthegreatestmomentsinfilmhavebeendivineaccidents.”RecallsAlberttoday,almost30yearsafterthetaping,“Asdocumentarians,thathitusrightbetweentheeyes.I’vealwaysrememberedthat.”
Regardlessoftheplacehecametoholdinanindustryalwayslookingforthenextbigthing,theinterminableinfluenceofCitizenKaneisnoaccident.EvenifWelles’legacyisdefinedbythatfirstbrilliantfilm,theinfluenceofKaneissovastthatthedirector’splaceinfilmhistoryisguaranteedforthegenerationstocome.EachviewingofCitizenKaneyieldsanewcinematicinnovationandadeeperunderstandingofageniusatwork.
4.Jean-LucGodard(1930-)
Hewasn’tthefirstoftheFrenchNewWavedirectors,buthewasthemostcelebrated.His1960filmBreathlessheraldedanewkindofmoviemaking—onethatwasfreefromstudioconstraintsandcontinuestopermeatetheveryheartofindependentfilmtoday.
Armedwithanexhaustiveknowledgeoffilmhistoryanda16mmcamera,Godardgavepermissiontolatermoviemakerstobreaktheruleswhenitcametostory,structureandprocess.SaysTorontoFilmFestivalDirectorPiersHandling:
“Godardchallengedtheacceptednotionsofhowafilmwasconstituted.Hisinnovationsincludedjumpcuts,directaddresstocamera,thelongtake,disjunctionofsoundandimageandaninnovativeuseoftheactor—allofwhichhavebecomecompletelyintegratedinavarietyofwaysintocontemporaryfilm,musicvideosandcommercials.Hisfamousstatement‘Afilmshouldhaveabeginning,amiddleandanend—butnotnecessarilyinthatorder’revealedhismodusoperandi.Hehadanenormousinfluenceontheemergingnationalcinemasofthe’60sinLatinAmerica,AfricaandEasternEurope,andnomajorfilmmakerinAmericaorEuropecouldignorehisradicalchallengetoestablishedfilmgrammar.QuentinTarantinonamedhisproductioncompanyABandApartafterGodard’sBandeàpart,whileAkiandMikaKaurismäki’sunitwascalledVillealfaafterAlphaville.
JasonKliot,ofOpenCityPicturesandBlowUpFilms,putsitmoresuccinctly:
“GodardtomodernfilmiswhatPicassoistomodernart—theultimatedaredevilandpioneer,themanwhohadnofear,themanwilling
totryanythinginanygenreandpushittoitslimits.”
5.JohnFord(1894–1973)
JohnFordwasamanoffewwords.Honestandstraightforwardinpersonalityandtechnique,hewasanall-AmericandirectorwhoinfluencedadiverseslateofmoviemakersfromMartinScorsesetoSatyajitRay.Withfilmschoolnotanoption
untilmuchlaterinthe20thcentury,JohnFord’sfilmsbecamemoviemakingclassforbuddingdirectorstheworldover.
Fordwasoneofthemostprolificdirectorsinthehistoryofcinema,andoneofthefewtobejustassuccessfulinthesilenteraashewasinthetalkies.ThoughmanyconsiderhiscrowningachievementtobeTheSearchers,nearlyhisentirefilmographyatteststohisgenius.Primarilyrememberedforhiswesterns,Fordtried—andsucceeded—atvariousgenres.StagecoachandTheManWhoShotLibertyValanceare consideredgreatwesterns,buthisromanceTheQuietMan,hisadaptationofSteinbeck’sTheGrapesofWrathandhisdocumentaries
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