John Carpenter (January 16, 1948-) is a American film director, known for his work in the horror and science fiction movie genres. His career is speckled with films considered genre classics, as well as a number of movies that initially performed poorly at the box office, but went on to be Vindicated by Cable.His films are characterized by minimalist lighting and photography, static cameras, use of steadicam, and distinctive synthesized scores (usually self-composed). Many of today's best directors, including Tim Burton and Christopher Nolan, state that they were heavily influenced by Carpenter's style and filmography.Tends to indulge in In Case You Forgot Who Wrote It.Since the release of Ghosts of Mars in 2001 he has gone into a state of semi-retirement, although he returned to the director's chair for several episodes of Masters Of Horror and the movie The Ward.The YMMV page for his collective works can be found here.
Films (and other media) directed by John Carpenter include:
Prince of Darkness happens over the span of a single day in a church with obviously working electricity. It was inspired by Nigel Kneale's The Stone Tape, which features key scenes set in small (admittedly dark) room filled with scientists, scientific equipment and haunted by a non-physically-threatening supernatural entity. And it's still terrifying.
The Thing (1982), while still using night time for some of its scares, manages to have a few intense moments in the light of day. Then again, they're in the stormy antarctic, so it's mostly an overcast daylight. Most of the later parts of the film take place at night (though justified by the way Antarctic winters work), the scenes that actually take place outdoors in darkness (well, partial darkness, the camp has outdoor lights) tend to be some of the less eerie moments, with most of the creepiest scenes being indoors with electric lighting. The one exception might be the scene where the guys encounter the Bennings-Thing, and they'd lit a few flares that lit things up real good.
One of Carpenter's most effective uses of the trope, and one of the most famous, are the scenes in his film Halloween (1978) when "the shape" is stalking Laurie Strode and her friends through the quiet streets of Haddonfield during the middle of the day. The idyllic, sunny small town environment is rendered uncanny and frightening by the mixture of creepy music and the fact that the audience is aware of a malevolent presence that the onscreen characters cannot seem to sense.
Subverted in The Thing (1982) but it's implied both the hero and the other surviving camp member are doomed anyway.
Humanoid Abomination: Often the monsters in Carpenter's movies are just human enough to be genuinely disturbing. Michael Myers is a prime example; we're given every indication that, while he seems to be just an ordinary young man, there is nothing recognizably human going on in his mind.
Mind Screw: Generally most of his films are pretty straightforward in their delivery, but he's strayed in this territory on a few occasions.
A partial exception would be The Thing (1982), which despite having a narrative that's more or less easy to follow really leaves out a lot of crucial details that the audience is left to fill in. To this day fans of the movie still debate on who got to the blood, whether Blair was infected before or after he was locked up (which depending on how you look at it can provide wholly different interpretations of his actions over the course of the film), how Fuchs ended up being burned to death outside, and most of all whether the Thing really was defeated, or if perhaps one, both, or neither of the survivors have been assimilated.
This is nothing when you look at the final instalment of the "Apocalypse Trilogy", In the Mouth of Madness. There's a reason why it's a former trope namer. It starts off with the character being brought into a mental institution, and his story starts off straight forward- a simple investigation into the disappearance of a horror writer due to release the titular novel. Then things get weird when it becomes clear that the books have a weird impact on readers, and he stumbles across a town that shouldn't exist and the writer tells him he's a fictional character created for his novel, and then his partner is literally written out of the story. By the end of the movie, you can't quite tell for certain one way or another who's sane, who's insane, what's real and what's fictional. Is the protagonist real, or is he merely a figment of a writer's imagination? Was the world really destroyed by Lovecraftian monsters or was it something else? Did the entire story even happen or is it all in his head?. To make things even more baffling, the final scene has Sam Neil's character walking into a movie theatre to watch the film adaptation of the book the entire movie has been centred around. It turns out The Film of the Book is actually the movie we've just finished watching.
Silent Antagonist: A common device in Carpenter's work is the monster or villain that does not speak. They are either unable or unwilling to explain their motivations, which enhances the sense of Otherness about them. We never know what they're thinking; all we know is they intend us harm and will not tell us why.
Thematic Series: John Carpenter has what he considers his "Apocalypse Trilogy" starting with The Thing (1982), going into Prince of Darkness and ending with In the Mouth of Madness. As the name implies, the connection has to do with each of the films presenting a Cosmic Horror scenario that could potentially result in the end of the world, by way of alien invasion, the awakening of an Eldritch Abomination that was the basis for Satan, and a crazy writer whose work has possibly been influenced by ancient Lovecraftian monstrosities. All three have the protagonists coming face to face with the end of the world, and they all end on a bleak note but open to interpretation:
The Thing: The two survivors are left to freeze to death, but there is the small possibility that one of them is the Thing.
Prince of Darkness: Satan is apparently expelled and trapped in another realm, at the cost of the Love Interest's life, but she starts appearing in the main character's dreams, and then he reaches for that mirror- we don't see what happens next.
In The Mouth of Madness: The protagonist learns he is a fictional character in a writer's story, he tries to stop the publication of the novel every way he knows how, but Sutter Kane is always one step ahead of him, and before long we can't tell if he's truly mad when other people seem to forget things. The book gets published, people go insane, and before long society is in ruins- and to add further Mind Screw, it turns out the film we've been watching is actually the adaptation of the novel.