European art directors, such as Ingmar Bergman, enjoyed similar freedom.
He assisted directors such as Pountney and Jonathan Miller.
Some directors, such as Britain's Carol Reed, made this a trademark (The Third Man, 1949).
For directors such as Petty, no artwork is fixed in its original form.
Directors such as Peter Zadek and David Thacker set it in the stock exchange.
Directors such as Billy Wilder owed a great debt to him.
Directors such as Chaplin and DW Griffith had begun to tell ambitious stories.
Previously, awkward, uncompromising directors such as Luis Bunuel had found themselves exiled from their homeland.
Thanks to the success of Leone and Django director Sergio Corbucci, opportunities opened up for younger directors such as Castellari.
Some directors, such as Michelangelo Antonioni, Franco Zeffirelli, Sergio Leone, and Fellini, enjoyed more success abroad than at home.
It is credited with creating a climate that fostered other young directors such as Spielberg, Scorsese and Coppola.
