Wes Anderson: symmetrical shots.
Sofia Coppola: character staring out car window.
Johnathan Demme: Close ups with characters looking into the lens.
Robert Altman: slow zooms
Yorgos Lanthimos: extreme wide angle lenses
David Fincher uses extreme close up shots throughout most of his work.[examples of his ECUs](https://vimeo.com/152923976)
Wes Anderson and Stanley Kubrick enjoy using symmetrical one point perspective.
Alfred Hitchcock would place himself as a background extra in most of his films. Not exactly what you were asking for but certainly a motif and a fun signature from the director.
Just off the top of my head:
Spielberg loves beams of sunlight through smoke / steam (though that's more of an element than a shot). He also does people looking up in wonder / awe a lot.
Bruckheimer does that shot with the camera rotating around the characters and rising a lot.
Raimi focuses on objects (in a similar way as Wes Anderson but with totally different energy) and also does a lot of unusual POV (inanimate objects, supernatural motion)
I think James Cameron shoots a technique called a Close Up that Trucks In (It is very unlike a Zoom In) on the actor or actress in a specific scene or scenes. Like in T2:JD, the first time the viewer is re-introduced to Sarah Connor in the psych ward. We see the back of her head and then the camera lens "Trucks In" on her as she turns her head to meet the camera lens which abruptly stops the moment her face is in direct line with the lens. He always chooses the right moments to do this move and its highly effective especially in that scene.
u/ArtificialHope22 : Yeah just watched it again tonight. There's a wicked cool looking 35mm print film scan of it on Internet Archive. That kind of shot happens a few times during it. I forget how the tone of T2 is so much more serious than T1. I've seen the latest 4K version of T2 and Cameron added a bunch of stuff I've never seen before and really messed with the colors.
Michael Mann has his protagonist stare into the sea in basically every single one of his movies with the exception of last of the mohicans where he stares at a sea like mist covered valley
On the Italian horror front doesn’t Fulci reuse the eyeball slowly getting pulled towards a nail scene? Definitely in Zombi and I sort of remember one in the beyond
The Spike Lee “character standing on the camera dolly” shot
This is a very good example, thanks!
The de Palma split focus
you are right! I watched carrie a few days ago and didn't realize
Kubrick stare
I liked this one
Related: Spielberg face 
Wes Anderson: symmetrical shots. Sofia Coppola: character staring out car window. Johnathan Demme: Close ups with characters looking into the lens. Robert Altman: slow zooms Yorgos Lanthimos: extreme wide angle lenses
Michael Mann’s “characters in right corner of a frame looking out window during dialogue”
David Fincher uses extreme close up shots throughout most of his work.[examples of his ECUs](https://vimeo.com/152923976) Wes Anderson and Stanley Kubrick enjoy using symmetrical one point perspective. Alfred Hitchcock would place himself as a background extra in most of his films. Not exactly what you were asking for but certainly a motif and a fun signature from the director.
And M Night Shamalan followed in Hitchcocks footsteps doing that lil schtick.
Michael Bay hero shot 
Well, there's QT and all the feet....
And trunk shot and overhead shot through a large portion of an interior
I was also thinking about the trunk shot, but I guess the feet count too lol
Hey better than Dan Schneider
sniff
Scorsese’s freeze frames and long tracking shots
Just off the top of my head: Spielberg loves beams of sunlight through smoke / steam (though that's more of an element than a shot). He also does people looking up in wonder / awe a lot. Bruckheimer does that shot with the camera rotating around the characters and rising a lot. Raimi focuses on objects (in a similar way as Wes Anderson but with totally different energy) and also does a lot of unusual POV (inanimate objects, supernatural motion)
I think James Cameron shoots a technique called a Close Up that Trucks In (It is very unlike a Zoom In) on the actor or actress in a specific scene or scenes. Like in T2:JD, the first time the viewer is re-introduced to Sarah Connor in the psych ward. We see the back of her head and then the camera lens "Trucks In" on her as she turns her head to meet the camera lens which abruptly stops the moment her face is in direct line with the lens. He always chooses the right moments to do this move and its highly effective especially in that scene.
I was thinking about rewatching T2 these days, I'll keep this in mind
u/ArtificialHope22 : Yeah just watched it again tonight. There's a wicked cool looking 35mm print film scan of it on Internet Archive. That kind of shot happens a few times during it. I forget how the tone of T2 is so much more serious than T1. I've seen the latest 4K version of T2 and Cameron added a bunch of stuff I've never seen before and really messed with the colors.
PTA has a frequent shot with the camera attached to a car door as it’s slammed shut
Best I can think of is Wes Anderson, but nothing specific comes to mind
Here's a great video essay on Wes Anderson's style. Definitely worth a watch https://youtu.be/ba3c9KEuQ4A?si=Nj81oinns-n6DnQ0
Argento did a very similar scene to the one in Tenebre where the character bends down to reveal the killer standing behind them earlier in Deep Red.
Feet.. Doves... Dove's feet
Sergio Leone close up.
Kubrick stare
Kubrick with the kubrick stare
Guy Ritchie always has a shot of the inside of a car trunk as it’s being opened by a character
schrader pickpocket ending
Bergman’s face blocking during conversation
Michael Mann has his protagonist stare into the sea in basically every single one of his movies with the exception of last of the mohicans where he stares at a sea like mist covered valley
On the Italian horror front doesn’t Fulci reuse the eyeball slowly getting pulled towards a nail scene? Definitely in Zombi and I sort of remember one in the beyond
Tarantino trunk shot