Nicolas Roeg was the type of filmmaker who inspired obsession. His films were experimental and bold, but always had an internal logic, each bit fabricated lovingly and with a nearly forensic attention to detail. He took big risks (often when it came to who he cast in his films) and often broke new ground, all in the name of creating singular works of art that people would happily obsess over. And while Roeg died today at the age of 90, he left behind a body of work that felt unique and personal, especially in the pantheon of modern filmmakers. Each film felt handcrafted and singular; all the better to obsess over.

Even if you don’t know Roeg’s work, chances are you’re aware of him. He began his career as a cinematographer and second-unit director, working for Mick Jagger, who also contributed to the original score) and a loose, fractured structure that reveals itself the more times you watch it.

The year after “Performance,” Roeg released one of his masterpieces – “Julie Christie as a young couple mourning the death of their child in Venice. (Sutherland adored the director and named one of his sons Roeg.) “Don’t Look Now” is now considered a classic, one of the scariest movies of all time, and one of the most influential. And not just because the sex scene, often cited as one of the most erotic in film history, was reportedly not simulated.

Three years after “Don’t Look Now,” Roeg teamed up with another rock star for “Bad Timing.” A kinky, surrealistic thriller, the movie was awarded an X-rating in the United States for its sexual frankness. Garfunkel’s performance is iffier than either Jagger or Bowie’s, but it feels like an intensely personal, painful piece of work (his girlfriend at the time committed suicide during production) and the movie remains one of his more underrated efforts.

In the years that followed, Roeg’s output would be just as interesting but less widely heralded, with his more notable works being “Jim Henson ever worked on. Like most of Roeg’s films, its reputation has only strengthened over the years, with many rightfully acknowledging it as an ahead-of-its-time classic.

In Roeg’s later career, he worked mostly in television (including an episode of “The Young Indiana Jones Chronicles”) and in marginally released oddities (like 2007’s bizarre-in-a-bad-way “Guillermo del Toro (who spent the morning re-tweeting eulogies to the director and who often discussed remaking “The Witches”).

If you’ve never seen one of Roeg’s movies, well, I envy you. Watching “Don’t Look Now” or “Walkabout” for the first time is like having a filmmaker speak directly to you, like you’ve been instantly inducted in a club exclusively for people who like the coolest, most creative stuff imaginable. Roeg was a filmmaker who shot to popularity early in his career and never stopped experimenting with craft and form, even after people stopped paying attention. He will be missed, he will be cherished, and he will be obsessed over, as long as there is cinema.