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* NonActorVehicle: Directed three of the most famous examples--''Film/{{Performance}}'' ([[Music/TheRollingStones Mick Jagger]]), ''Film/TheManWhoFellToEarth'' (Music/DavidBowie) and ''Film/BadTiming'' ([[Music/SimonAndGarfunkel Art Garfunkel]]).
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* NonActorVehicle: Directed three of the most famous examples--''Film/{{Performance}}'' ([[Music/TheRollingStones ([[Music/TheRollingStonesBand Mick Jagger]]), ''Film/TheManWhoFellToEarth'' (Music/DavidBowie) and ''Film/BadTiming'' ([[Music/SimonAndGarfunkel Art Garfunkel]]).
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Roeg had started working on prestige films but in the middle of the '60s, he worked on a number of British films with UsefulNotes/FrenchNewWave inspired directors, chiefly Creator/JohnSchlesinger and Richard Lester, in addition to working on Creator/FrancoisTruffaut's only English-language film (''Fahrenheit 451''). Over the years he'd developed his own ideas about film being a unique medium, and the possibilities of using images, sounds and editing to tell stories in a new, provocative way. When it came time to apply those ideas as a director, the result was some of the most radical work ever released by mainstream studios, many of them experimental with narrative, and time, shooting sequences with flash-backs and flash-forwards intervowen together, and challenging a great many narrative and visual conventions.
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Roeg had started working on prestige films but in the middle of the '60s, he worked on a number of British films with UsefulNotes/FrenchNewWave inspired directors, chiefly Creator/JohnSchlesinger and Richard Lester, Creator/RichardLester, in addition to working on Creator/FrancoisTruffaut's only English-language film (''Fahrenheit 451''). Over the years he'd developed his own ideas about film being a unique medium, and the possibilities of using images, sounds and editing to tell stories in a new, provocative way. When it came time to apply those ideas as a director, the result was some of the most radical work ever released by mainstream studios, many of them experimental with narrative, and time, shooting sequences with flash-backs and flash-forwards intervowen together, and challenging a great many narrative and visual conventions.
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* ''Film/FullBodyMassage'' (1995)
