Editing Nicolas Roeg (section)

==Style and influence==
Roeg's films are known for having scenes and images from the plot presented in a disarranged fashion, out of chronological and causal order, requiring the viewer to do the work of mentally rearranging them to comprehend the story line. They seem to "shatter reality into a thousand pieces" and are "unpredictable, fascinating, cryptic, and liable to leave you wondering what the hell just happened..."<ref>Steve Rose. [https://www.theguardian.com/culture/2008/jul/12/film.features "'You don't know me.'"], ''The Guardian'', 12 July 2008; accessed 12 July 2014.</ref> This is also the strategy of [[Richard Lester]]'s 1968 film ''[[Petulia]]'', which was Roeg's last film as a cinematographer only. A characteristic of Roeg's films is that they are edited in disjunctive and semi-coherent ways that make full sense only in the film's final moments, when a crucial piece of information surfaces; they are "mosaic-like montages [filled with] elliptical details which become very important later."<ref name="Wood"/>

These techniques, along with Roeg's foreboding sense of atmosphere, influenced later such filmmakers as [[Steven Soderbergh]],<ref name="Wood"/> [[Tony Scott]],<ref>Ariel Leve. [http://www.ariel-leve.com/st_interviews/tonyscott.html "Interview with Tony Scott"] {{webarchive|url=https://web.archive.org/web/20100314084040/http://www.ariel-leve.com/st_interviews/tonyscott.html |date=14 March 2010 }}, ''The Sunday Times Magazine''. August 2005; accessed 12 July 2010.</ref> [[Ridley Scott]], [[François Ozon]] and [[Danny Boyle]].<ref>Adams, Tim [https://www.theguardian.com/film/2010/dec/05/danny-boyle-interview-tim-adams?intcmp=239 "Danny Boyle: 'As soon as you think you can do whatever you want... then you're sunk{{'"}}] ''The Guardian'', 5 December 2010.</ref> In addition to this, [[Christopher Nolan]] has said his film ''[[Memento (film)|Memento]]'' would have been "pretty unthinkable" without Roeg and cites the finale of ''Insignificance'' as an influence on his own ''[[Inception]]''.<ref>{{cite news|url=https://www.theguardian.com/film/2011/mar/10/nicolas-roeg|title=Nicolas Roeg: 'I don't want to be ahead of my time'|newspaper=The Guardian|access-date=17 December 2017|date=10 March 2011|last=Gilbey|first=Ryan}}</ref> In addition to this, Steven Soderbergh's ''[[Out of Sight]]'' features a love scene that is visibly influenced by that in ''Don't Look Now''.<ref>{{cite news | title = Steven Soderbergh Interview | work =  Mr. Showbiz | year = 1998 }}</ref>

A further theme that can be seen to be running through Roeg's filmography is characters who are out of their natural setting.<ref>{{cite web|url=https://www.bfi.org.uk/features/where-begin-nicolas-roeg|title=Where to begin with Nicolas Roeg|date=13 September 2016 |publisher=BFI|access-date=26 November 2018}}</ref> Examples of this include the schoolchildren in the Outback in ''Walkabout'', the men and women in Venice in ''Don't Look Now'', the alien on Earth in ''The Man Who Fell to Earth'', and the Americans in Vienna in ''Bad Timing''.

Roeg's influence on cinema is not limited to deconstructing narrative. The "[[Memo from Turner]]" sequence in ''Performance'' predates many techniques later used in music videos. The "quadrant" sequence in ''Bad Timing'', in which the thoughts of Theresa Russell and [[Art Garfunkel]] are heard before words are spoken set to [[Keith Jarrett]]'s piano music from ''[[The Köln Concert]]'', stretched the boundaries of what could be done with film.<ref name="Senses of Cinema"/>