Sidney J. Furie

An imagistic visual style, often with a patented use of multiple cameras.
Shoots through and around foregrounded objects to offer a "refracted" view of the action. The style is overt and especially prevalent in Ipcress: Arquivo Confidencial (1965), Sangue em Sonora (1966) and O Serviço Secreto em Ação (1967), his Wild Angle Trilogy.
Long takes that play out in intricately composed master shots (some clock in at over five minutes in length)
Dynamic camera movement that captures the action of a scene, in lieu of cutting to coverage

Stanley Kubrick was a big fan of Os Rapazes da Companhia C (1978) and cited that film as the direct inspiration for Nascido para Matar (1987). Many critics have identified similarities between the two films including, not least of all, the casting of R. Lee Ermey who plays Marine Drill Instructor Sgt. Joyce in Furie's film and Gunnery Sgt. Hartman in Kubrick's.
Furie was originally in line to direct O Poderoso Chefão (1972) for Paramount. Producer Albert S. Ruddy had just come off As Máquinas Quentes (1970) with Furie, and was handed the task of producing "The Godfather" after "Little Fauss" had been brought in under-budget and under-schedule. Ruddy personally requested Furie to direct the picture, but Francis Ford Coppola's Italian heritage won the day.
Directed one Oscar-nominated performance: Diana Ross in O Ocaso de uma Estrela (1972).
Was instrumental in helping John Boorman get hired to direct À Queima-Roupa (1967).
He was personally asked by Rodney Dangerfield to direct Vende-se Tudo (2000). Dangerfield had a rocky history with most of his directors, and left many sets in disgust, never to return to many of them. Furie was Dangerfield's favorite directing collaborator.

The truth is, whether your film is about the great mythological character you have to do right, or it's a little movie that nobody ever heard of, you still approach it like it's the most important thing in the world. But failing goes with the territory. Filmmakers are like gunslingers, and you don't win every duel.
I don't actually consider O Enigma do Mal (1982) to be a horror film--it's a supernatural suspense movie. Horror is such a huge topic that has slasher films and other horrible crap attached to it and I'm not a fan of that stuff at all. I like something that gets you thinking and "The Entity" was certainly that kind of film. Horror is a convenient word that is often applied but I don't think horror is a genre at all. Its more of a term.