John Boorman

Usually has a shot in his movies of a hand emerging from a body of water holding a weapon.
Dream sequences with surreal or psychedelic imagery.

Said he cast Nicol Williamson and Helen Mirren as Merlin and Morgana, respectively, against both their protests, in Excalibur, a Espada do Poder (1981) because he thought their real-life dislike for each other would give their scenes more of an edge.
(April 11, 1998) When Boorman's Best Director Oscar nomination for Esperança e Glória (1987) coincided with directors Adrian Lyne (UK) for Atração Fatal (1987), Lasse Hallström (Sweden) for Minha Vida de Cachorro (1985), Norman Jewison (Canada) for Feitiço da Lua (1987) and winner Bernardo Bertolucci (Italy) for O Último Imperador (1987), this was the only instance in Oscar history where all five Best Director nominees were non-Americans.
He offered the chance to direct O Exorcista (1973), but declined because he felt the storyline was "cruel towards children". He did, however, accept the offer to direct O Exorcista II: O Herege (1977).
He was asked to direct Atração Fatal (1987), but turned it down to make Esperança e Glória (1987).
Was sent an early draft of a script for Rocky, um Lutador (1976) by producer Robert Chartoff. He wrote back to say that not only was he not interested but that he strongly advised Chartoff to drop the project completely.

[on the "Lord of the Rings" film trilogy by Peter Jackson] I think it was a brilliant idea to make three films ... I'm glad "The Lord Of The Rings" is being made now, and I'm looking forward to seeing it. I'm sure it'll be a big success.
[on his failed attempt at bringing writer J.R.R. Tolkien's "Lord of the Rings" to the screen] Everything I learned, the technical problems I had to resolve in planning for "The Lord Of The Rings", I applied to Excalibur, a Espada do Poder (1981). That was my recompense.
I always think that watching films is very like dreaming.
He seems to think he's Lee Marvin. Except he's two feet shorter. And about one third the talent. - On Mel Gibson
[on Lee Marvin] I learned more from Lee about filmmaking than from anyone. He has this incredible economy and brilliant camera technique. Most actors are completely spastic when it comes to moving properly, but Lee has the economy and quickness of a dancer.