The great Dutch-born cinematographer Robby Muller has passed at age 78. He was a kind of outlaw stylist, drawn towards urban funk and fringe-y milieus. Muller shot shorts in the mid to late ’60s, and then became Wim Wenders‘ favorite dp in the ’70s and early ’80s (Summer in the City, The Goalkeeper’s Fear of the Penalty, Alice in the Cities, Kings of the Road, The American Friend, Paris, Texas). It was Muller’s noirish-gloom lensing of The American Friend that made me sit up and take notice. My second favorite Muller-shot film was Alex Cox‘s Repo Man. I loved his black-and-white lensing of Jim Jarmusch‘s Down By Law and Dead Man; ditto William Friedkin‘s To Live and Die in L.A. and well as Lars Von Trier‘s Breaking The Waves and Dancer in the Dark. There was nothing very “stylish” about his lensing of John McNaughton‘s Mad Dog and Glory (’93), but it’s one of my favorite ’90s films. Muller’s last fully-shot feature was Michael Winterbottom‘s 24-Hour Party People (’02). He co-shot Jarmusch’s Coffee and Cigarettes (’03), and then apparently retired.