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amateurs instead of auteurs.
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It's no wonder I sometimes yearn for the good old days when directors were anonymous hires instead of beloved auteurs who sometimes say and do the darnedest, most awful things.
Instead of a new era of auteurs, of unique voices and stories, the entertainment industry has had enormous success doing the complete opposite: doubling down on sequels, and expanding brands and franchises into massive worlds of corporate-licensed, committee-written, producer-driven branded entertainment, often spanning movies, television, books, video games, and amusement parks.
But instead of feeling compromised as an auteur, Mr. Rudolph recalled, he experienced something new.
It's true that the young critics at Cahiers, sixty years ago, were allied behind the idea of the "politique des auteurs" — not the "auteur theory" but a policy, or politics, of auteurs.
This is the cinema of auteurs, not of spectators.
With the dawn of the Age of Auteurs in the late 1960s and early 1970s filmmakers suddenly became stars.
But it's worth asking; why didn't we get that decentralized diaspora of auteurs that was once widely predicted?
Making great panning time-lapse shots has long been the domain of auteurs like Stanley Kubrick, Steven Spielberg, and Uwe Boll.
Instead of fattening his wallet with franchises, he has bestowed his bankable stardom on directors pursuing auteur visions.
Instead of.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com