QUENTIN TARANTINO
1. The Good, the Bad and the Ugly (Leone, 1966)
2. Rio Bravo (Hawks, 1959)
3. Taxi Driver (Scorsese, 1976)
4. His Girl Friday (Hawks, 1939)
5. Rolling Thunder (Flynn, 1977)
6. They All Laughed (Bogdanovich, 1981)
7. The Great Escape (J Sturges, 1963)
8. Carrie (De Palma, 1976)
9. Coffy (Hill, 1973)
10. Five Fingers of Death (Chang, 1973)

TIM ROBBINS
1. The Battle of Algiers (Pontecorvo, 1965)
2. The Clowns (Fellini, 1971)
3. Don't Look Back (Pennebaker, 1967)
4. The Lower Depths (Kurosawa, 1957)
5. McCabe & Mrs Miller (Altman, 1971)
6. My Man Godfrey (La Cava, 1936)
7. Nashville (Altman, 1975)
8. Network (Lumet, 1976)
9. Underground (Kusturica, 1995)
10. Waiting for Guffman (Guest, 1996)

PAUL VERHOEVEN
My favourite films are Ivan the Terrible, La dolce vita and Lawrence of Arabia. However, if you are looking for influences for Basic Instinct specifically, I was mostly influenced by my admiration for Hitchcock and my study of the director's work, notably Vertigo and Rear Window.

1. La Dolce Vita (Fellini, 1960)
2. Ivan the Terrible, Part II (Eisenstein, 1958)
3. Lawrence of Arabia (Lean, 1962)
4. Rashomon (Kurosawa, 1951)
5. Vertigo (Hitchcock, 1958)
6. The Seventh Seal (Bergman, 1956)
7. La Règle du Jeu (Renoir, 1939)
8. Metropolis (Lang, 1927)
9. Los Olvidados (Buñuel, 1950)
10. Some Like It Hot (Wilder, 1959)


BERNARDO BERTOLUCCI
1. La Règle du Jeu (Renoir, 1939)
2. Sansho Dayu (Mizoguchi, 1954)
3. Germany, Year Zero (Rossellini, 1947)
4. A Bout de Souffle (Godard, 1959)
5. Stagecoach (Ford, 1939)
6. Blue Velvet (Lynch, 1986)
7. City Lights (Chaplin, 1931)
8. Marnie (Hitchcock, 1964)
9. Accattone (Pasolini, 1961)
10. Touch of Evil (Welles, 1958)

MILOS FORMAN
1. Amarcord (Fellini, 1973)
2. American Graffiti (Lucas, 1973)
3. Citizen Kane (Welles, 1941)
4. City Lights (Chaplin, 1931)
5. The Deer Hunter (Cimino, 1978)
6. Les Enfants du Paradis (Carné, 1945)
7. Giant (Stevens, 1956)
8. The Godfather (Coppola, 1972)
9. Miracle in Milan (De Sica, 1951)
10. Raging Bull (Scorsese, 1980)

CAMERON CROWE
1. The Apartment (Wilder, 1960)
2. La Règle du Jeu (Renoir, 1939)
3. La Dolce Vita (Fellini, 1960)
4. Manhattan (Allen, 1979)
5. The Best Years of Our Lives (Wyler, 1946)
6. To Kill a Mockingbird (Mulligan, 1962)
7. Harold and Maude (Ashby, 1971)
8. Pulp Fiction (Tarantino, 1994)
9. Quadrophenia (Roddam, 1979)
10. Ninotchka (Lubitsch, 1939)

SAM MENDES
1. Citizen Kane (Welles, 1941)
2. Fanny and Alexander (Bergman, 1982)
3. The Godfather Part II (Coppola, 1974)
4. The Piano (Campion, 1993)
5. The Red Shoes (Powell, Pressburger, 1948)
6. Sunset Blvd (Wilder, 1950)
7. 2001: A Space Odyssey (Kubrick, 1968)
8. Taxi Driver (Scorsese, 1976)
9. Vertigo (Hitchcock, 1958)
10. The Wizard of Oz (Fleming, 1939)




MICHAEL MANN
1. Apocalypse Now (Coppola):
Coppola made the ephemeral dynamics of the mass psyche's celebratory nihilism, its self-destructive urges and transience, concrete and operatic. A fabulous picture.

2. Battleship Potemkin (Eisenstein):
Eisenstein invented not just film form, but a dialectical theory of the construction of cinematic narrative. He laid the theoretical foundation in 1924 and embodied it in cinema's greatest classic. Its influence in British, Weimar and American cinema is extraordinary.

3. Citizen Kane (Welles):
A watershed that perceives and expresses content in a grand way, never done before.

4. Dr. Strangelove (Kubrick):
The whole picture is a third act. It codifies and presents as outrageous satire the totality of American foreign and nuclear policy and political/military culture from 1948 to 1964. And it's more effective for being wicked ridicule than any number of cautionary fables.

5. Faust (Murnau):
Invented what had never been done before and delivered magic in both its human pathos and visual effects. (My selection is based on having viewed an excellent 35mm print.)

6. Last Year at Marienbad (Resnais)
A defining film. It's almost the end of modernism when counterposed against Godard.

7. My Darling Clementine (Ford)
Possibly the finest drama in the classic Western genre, with a stunningly subjective Wyatt Earp (Henry Fonda). And it achieves near-perfection as cinematic narrative in its editing and shooting.

8. The Passion of Joan of Arc (Dreyer)
Human experience conveyed out of the abstract elements of the human face and pure compositions. No one else has shot and realised human beings quite like Dreyer in this film.

9. Raging Bull (Scorsese)
We are so sucked into the failing and besotted life of La Motta and his need for and pursuit of redemption. The humanity of the picture is as extraordinary as Marty's execution, with its near-perfection in the economy, staging, blocking and compositions.

10. Wild Bunch (Peckinpah)
No other picture captures the poignancy of 'the last of', a fin-de-sicle sense of the West, of ageing, of the pathos of twilight.

SIDNEY LUMET
1. The Best Years of Our Lives (Wyler, 1946)
2. Fanny and Alexander (Bergman, 1982)
3. The Godfather (Coppola, 1972)
4. The Grapes of Wrath (Ford, 1940)
5. Intolerance (Griffith, 1916)
6. The Passion of Joan of Arc (Dreyer, 1928)
7. Ran (Kurosawa, 1985)
8. Roma (Fellini, 1972)
9. Singin' in the Rain (Kelly, Donen, 1952)
10. 2001: A Space Odyssey (Kubrick, 1968)

JOHN WOO
1. 400 blows (Truffaut, 1959)
2. The Umbrellas of Cherbourg (Demy, 1964)
3. Le samourai (Melville, 1967)
4. Lawrence of Arabia (Lean, 1962)
5. Seven Samurai (Kurosawa, 1954)
6. West Side Story (Robbins/Wise, 1961)
7. The Wild Bunch (Peckinpah, 1969)
8. Mean Streets (Scorsese, 1973)
9. Godfather part 1 (Coppola, 1972)
10. Psycho/The Exorcist (Hitchcock, 1960) (Friedkin, 1973)

INGMAR BERGMAN
1. O Circo (Chaplin, 1928)
2. Cais das Sombras (Carné, 1938)
3. O Maestro (Wajda, 1980)
4. Kvarteret korpen (Widerberg, 1963)_
5. A Paixão de Joana D'Arc (Dreyer, 1928)
6. A Carruagem Fantasma (Sjöström, 1921)
7. Rashômon (Kurosawa, 1950)
8. La Strada (Fellini, 1954)
9. Crepúsculo dos Deuses (Wilder, 1950)
10. The German Sisters (Von Trotta, 1981)
11. Andrei Rublev (Tarkovsky, 1969)

THEO ANGELOPOULOS
1. Cidadão Kane (Welles)
2. Ivan, o terrível (Eisenstein)
3. A palavra (Dreyer)
4. Oito e meio (Fellini)
5. Nosferatu, o vampiro (Murnau)
6. A aventura (Antonioni)
7. Em busca do ouro (Chaplin)
8. Contos da lua vaga (Mizoguchi)
9. Pickpocket (Bresson)
10. Persona (Bergman)

JIM JARMUSCH
1. Atalante (Vigo)
2. Era uma vez em Tóquio (Ozu)
3. Amarga esperança (Ray)
4. Bob, le flambeur (Melville)
5. Aurora (Murnau)
6. O homem das novidades (Sedgwick & Keaton)
7. Mouchette (Bresson)
8. Os sete samurais (Kurosawa)
9. Lírio partido (Griffith)
10. Roma, cidade aberta (Rossellini)

KEN LOACH
1. Acossado (Godard)
2. A batalha de Argel (Pontecorvo)
3. Os amores de uma loira (Forman)
4. Ladrões de bicicleta (De Sica)
5. Trens estreitamente vigiados (Menzel)
6. O baile dos bombeiros (Forman)
7. Jules et Jim (Truffaut)
8. A regra do jogo (Renoir)
9. A árvore dos tamancos (Olmi)
10. Morangos silvestres (Bergman)

MICHAEL HANEKE
1. Au hasard Balthazar (Bresson)
2. Lancelot du Lac (Bresson)
3. Mirror (Tarkovsky)
4. Saló (Pasolini)
5. The Exterminating Angel (Buñuel)
6. The Gold Rush (Chaplin)
7. Psycho (Hitchcock)
8. A Woman under the Influence (Cassavetes)
9. Germany Year Zero (Rossellini)
10. L'eclisse (Antonioni)

ROGER CORMAN
1. Battleship Potemkin (Eisenstein)
2. Citizen Kane (Welles)
3. The Seventh Seal (Bergman)
4. Lawrence of Arabia (Lean)
5. The Godfather (Coppola)
6. The Grapes of Wrath (Ford)
7. Shane (Stevens)
8. On the Waterfront (Kazan)
9. Star Wars (Lucas)
10. The Cabinet of Dr. Caligari (Wiene)

JOE DANTE
1. Citizen Kane (Welles)
2. City Lights (Chaplin)
3. 8 1/2 (Fellini)
4. Les Enfants du paradis (Carné
5. The Dead (Brakhage)
6. Rashomon (Kurosawa)
7. Psycho (Hitchcock)
8. Raging Bull (Scorsese)
9. The Searchers (Ford)
10. Once upon a Time in the West (Leone)

SYDNEY POLLACK
1. Casablanca (Curtiz)
2. Citizen Kane (Welles)
3. The Conformist (Bertolucci)
4. The Godfather Part II (Coppola)
5. La Grande Illusion (Renoir)
6. The Leopard (Visconti)
7. Once upon a Time in America (Leone)
8. Raging Bull (Scorsese)
9. The Seventh Seal (Bergman)
10. Sunset Blvd. (Wilder)

JOHN WATERS
1. All That Heaven Allows (Sirk)
2. Baby Doll (Kazan)
3. Boom! (Losey)
4. Brink of Life (Bergman)
5. The Chelsea Girls (Warhol)
6. 8 1/2 (Fellini)
7. Faster, Pussycat! Kill! Kill! (Meyer)
8. La Maman et la putain (Eustache)
9. The Tingler (W. Castle)
10. The Wizard of Oz (Fleming)

JOEL SCHUMACHER
I'm guilt-ridden not to have included any Fellini, Bergman, Kurosawa; 81/2, The Seventh Seal, Raging Bull, The Deer Hunter, La Grande Illusion, The Battle of Algiers, War and Peace (Bondarchuk, 1968), Nights of Cabiria, Rashomon, A Short Film about Killing and on and on...

1. Battleship Potemkin (Eisenstein)
2. Lawrence of Arabia (Lean)
3. The Cook, The Thief, His Wife & Her Lover (Greenaway)
4. Bicycle Thieves (De Sica)
5. Breaking the Waves (von Trier)
6. A Clockwork Orange (Kubrick)
7. The Conversation (Coppola)
8. Sunset Blvd. (Wilder)
9. Stalker (Tarkovsky)
10. The Conformist (Bertolucci)

GEORGE ROMERO
If I were to attempt selections based on content or craftsmanship, I'd be intellectualising. I'd probably sound phoney, and I would no doubt include
one or two of my own films which, intellectually, I believe to be works of genius. I prefer to think of top ten as meaning favourite. When I'm condemned to hell - a good bet - I'll probably drag along a sack full of DVDs. When Charon says, "You can only bring ten. Feed the rest to Cerberus," which ten will I pick? To last me an eternity?

1.The Brothers Karamazov (Brooks)
Nobody is going to agree with me on this one. It's corny, it's Hollywood. But it's got The Yul. It's got Lee J., Baseheart, Salmi. It's got foxy Claire Bloom. It's even got Captain Kirk! And Maria Schell. Wow! She does a dance in a tavern, fully clothed, which might be the sexiest dance ever recorded. What can I tell you, the music makes me cry. And so does David Opatoshu.

2. Casablanca (Curtiz)
Those wonderful airplanes, wonderful hats, a wonderful gin joint. All wrapped up in one of the greatest flicks of all time.

3. Dr. Strangelove (Kubrick)
I wish I could pick all of Kubrick. I know, intellectually, that he's done 'better work', but Strangelove cracks me up. Lolita runs a close second, but having grown up in the days of 'duck and cover', in a perverse way I do love the Bomb. I also figure that when I'm in the ovens Sue Lyon won't be much of a turn-on any more, Shelly Winters will only make my pain worse, and I can get my Peter Sellers fix from Strangelove.

4. High Noon (Zinnemann)
How can anyone get through an eternity without ever again seeing a Western? Having grown up with Hopalong, I love Westerns, and I have a lot of faves... You might ask, "How can I pick a Western that doesn't star The Duke?" Well, I have The Duke covered (see below). But High Noon has Princess Grace and it has The Coop! I can't go to my damnation without The Coop.

5. King Solomon's Mines (Bennett)
Here's another one that will make the entire staff at the entertainment desk of Village Voice snicker. Come on, guys. I'm already going to hell! Let me enjoy myself, will ya? I grew up at the Loews American in the Bronx. Aside from 'forbiddens' like The Blackboard Jungle and (gasp) God's Little Acre, the most provocative glimpses of 'adult behaviour' we ever laid eyes on came to us from the grand Hollywood spectacles our parents took us to see because they believed them to be 'safe'.

6. North by Northwest (Hitchcock)
Faced with eternal damnation, I figure I'm going to want some fun. Maybe Cary, in that cornfield, will make my hell seem a bit less hellish.

7. The Quiet Man (Ford)
I was raised a Catholic, so it might be this film has an extra tug on me. But as I watch it, even in my now-corrupted state, each time I fall more in love with it.

8. Repulsion (Polanski)
We're now in what is thought of as my 'zone' - the horror film. Many wouldn't place Repulsion in this category, but I do. Is Jaws a horror film? Is The Silence of the Lambs? Yes. And they've elevated the genre. But hey, man, we're talkin' Roman here! You want scary. Take it from a scary guy. Go watch Repulsion.

9. Touch of Evil (Welles)
Faced with hell, who needs Citizen Kane? I'd take Touch of Evil any day of the eternity. Not the 'restored' version. Bring on Mancini!

10. The Tales of Hoffmann (Powell, Pressburger)
This is one notch out of alphabetical order, but I decided to give it the status of last position because it's my favourite film of all time; the movie that made me want to make movies.

STUART GORDON
1. Behind the Green Door (Mitchell)
The Gone with the Wind of porno.

2. Bride of Frankenstein (Whale)
One of the few sequels that is better than the original.

3. Duck Soup (McCarey)
The Marx Brothers before Thalberg got his hands on them, and quite simply the funniest movie ever made.

4. The Godfather (Coppola)
The film you find yourself quoting all the time.

5. King Kong (Cooper, Schoedsack)
The father of all giant-monster movies and a love story in which size does matter.

6. Psycho (Hitchcock)
Hitchcock panicked audiences by breaking all the rules (killing the star 30 minutes into the film).

7. Rosemary's Baby (Polanski)
An incredibly subjective film which served as a textbook for me when I shot Re-Animator.


8. Satyricon (Fellini)
L.P. Hartley once said that the past is a foreign country; in Fellini's hands the past is another planet.

9. 2001: A Space Odyssey (Kubrick)
A religious experience, and still the best and most realistic portrayal of space travel.

10. The Tingler (W. Castle)
Released in William Castle's own Percepto-Vision (vibrators attached to the audience's seats), this film sent a terrified
12-year-old Stuart Gordon running from the theatre and inspired him to do the same to others.

11. The Wild Bunch (Peckinpah)
Before this movie was made, people who were shot in films merely clutched their chests and fell over.


RICHARD LINKLATER
1. Some Came Running (Minnelli)
2. Pickpocket (Bresson)
3. 2001: A Space Odyssey (Kubrick)
4. GoodFellas (Scorsese)
5. La Maman et la putain (Eustache)
6. Los Olvidados (Buñuel)
7. In a Year with Thirteen Moons (Fassbinder)
8. Citizen Kane (Welles)
9. Fanny and Alexander (Bergman)
10. Carmen Jones (Preminger)

TERRY JONES
1. Annie Hall (Allen)
2. Apocalypse Now (Coppola)
3. Duck Soup (McCarey)
4. Fanny and Alexander (Bergman)
5. Groundhog Day (Ramis)
6. Guys and Dolls (Mankiewicz)
7. Jour de fte (Tati)
8. Napoleon (Gance)
9. Pathfinder (Salkow)
10. Steamboat Bill, Jr. (Riesner)

PAUL MORRISSEY
1. Gone with the Wind (Fleming)
2. Richard III (Olivier)
3. On the Waterfront (Kazan)
4. How Green Was My Valley (Ford)
5. Tobacco Road (Ford)
6. Shane (Stevens)
7. The Heiress (Wyler)
8. The Third Man (Reed)
9. The Nun's Story (Zinnemann)
10. La dolce vita (Fellini)