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    Robby Müller Personality Type, MBTI

    What is the personality type of Robby Müller? Which MBTI personality type best fits? Personality type for Robby Müller from Film Directors and what is the personality traits.

    Robby Müller
    INTP

    INTP (5w6)

    Robby Müller personality type is INTP, which is the third-most common type in the world, accounting for 6.5% of the population.

    What is an INTP personality type?

    INTP personality types are introverted, intuitive, thinking, and perceiving. The INTP personality type is also known as “the architect”, because it is the most creative of all the personality types. As an INTP, you may find it difficult to relate to other people, but you are very good at understanding how they think and what they need.

    The INTP personality type is also known as “the architect”, because it is the most creative of all the personality types. As an INTP, you may find it difficult to relate to other people, but you are very good at understanding how they think and what they need.

    What are some common interests for this type?

    INTPs are known for their theoretical interests; they like to study patterns and structure. They are great at conceptualizing new ideas and systems. Because they are naturally introverted, they often find themselves on their own. They like to spend time alone to come up with new ideas and solve problems by themselves.

    Robby Müller, NSC, BVK, (4 April 1940 – 3 July 2018) was a Dutch cinematographer. Known for his use of natural light and minimalist imagery, Müller first gained recognition for his contributions to West German cinema through his acclaimed collaborations with Wim Wenders. Through the course of his career, he worked closely with directors Jim Jarmusch, Peter Bogdanovich, Barbet Schroeder, and Lars Von Trier, the latter with whom he pioneered the use of digital cinematography. His work earned him numerous accolades and admiration from his peers. His other work included Joan Micklin Silver's Finnegan Begin Again (1984), the hazy, yellow-tinted cinematography of William Friedkin's To Live and Die in LA (1985), Sally Potter's The Tango Lesson (1997), Lars von Trier's starkly shot films Breaking the Waves (1996) and Dancer in the Dark (2000), and Jim Jarmusch's gritty-looking films Down by Law (1986), Mystery Train (1989), Dead Man (1995) and Ghost Dog: The Way of the Samurai (1999).

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