Billy Chainsaw

Film editor, Bizarre magazine


Voted in the critics’ poll

Voted for

Apocalypse Now


Francis Ford Coppola

Bande à part


Jean-Luc Godard

Blue Velvet


David Lynch

Devils, The


Ken Russell



Gaspar Noé

Natural Born Killers


Oliver Stone

Night of the Demon


Jacques Tourneur



Donald Cammell/Nicolas Roeg



Roman Polanski

Touch of Evil


Orson Welles


My M.O. is films that I have watched countless times and a) never tire of doong so and b) that I usually discover something new in them with every repeat viewing. Seeing Irreversible was one of the very few moments in my life when I have exited the cinema and though I’d just experienced a pivotal moment in filmmaking, something so visually and emotively innovative that it would remain with me forever. Touch of Evil is the greatest noir movie ever made: period. Forget Citizen Kane, this is Orson Welles defining moment – as both a director and a performer. Apocalypse Now was the first time I had ever been sucked into a war film. I had yet to experience LSD, but felt I knew what to expect – a notion that soon thereafter proved correct. The juxtaposition of styles in Natural Born Killers is an unforgettable explosion of eye candy, and its narrative a derisive sign of the times. There isn’t a superfluous frame throughout Bande à part, an example of why GODard is a cinematic genius. Few films have given me nightmares. Night of the Demon is one of them. There have been many movies that have attempted to anatomise human madness, but Repulsion manages to be skin-crawlingly magnificent without ever being gratuitous. The visual and narrative nature of Performance is truly demonic. Few Brits have pushed the envelope with the unfettered vigour of Mr Russell, the man behind The Devils. He is greatly missed. As for Blue Velvet, nightmares are made of this… it’s understandable that Lynch became the hight-priest of weird.

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