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Auteur License
- 160 statements
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This refers to when individuals leading a large collaborative project have full freedom to complete said project as per their vision, without any commercial or social constraints. They can decide the story, what it looks like, whom to cast, the length and pace of the film, and whether it can end as per the director's wishes rather than a Focus Group Ending. The name refers to The Auteur Theory, translated by American film critic Andrew Sarris from the French. It states that a film is the result of its director's personal creative vision, as if he were the primary "Auteur" (the French word for "author") and the key factor determining if a film will be good or bad. The other creative roles (writing, acting, cinematography, score, set design, etc) are important but primarily as Production Posse, and individually connote parts of a whole that only the director can properly shape by say determining camera placement, the number of shots a scene should start, when a scene starts and ends, how the actors interact with the supporting cast and so on. In the original form, the theory applied to all films and it was applied originally to resurrect and honour the reputations of underrated and neglected film-makers of The Golden Age of Hollywood. It has since however taken on broader connotations. In the general sense, it refers to certain film-makers and directors who are considered to be highly accomplished in their field, and who are known to make films as per their wishes rather than the demands of studios and corporations. In common parlance, when a director has auteur license they are said to have "final cut" (i.e. the editing isn't finished and exhibited until the director is satisfied and they and they alone, have the last word on how it actually plays to the public). This tends to be more common in small independent "Art House" cinema rather than in mainstream American movies, and in general, this trope is significant when film-makers working in the mainstream have final cut. In America, even after the end of The Hays Codenote Where censorship, regardless of the wishes of director, producer or studio, or screenwriter had the final say, meant that no movie was "truly" anybody's wish, and it was more or less a compromise and the rise of New Hollywood, directors still struggle with Executive Meddling. A situation different from Europe, where directors not only have director's cut by law but also hold copyrightnote Which even directors with final cut don't have in America. They only retain it when they are also producers of their films. In America, thanks to the DGA during the presidency of Robert Aldrich, directors, provided they complete a certain percentage of film-making and do not voluntarily resign from production, are allowed the "first cut" i.e. they are contractually stipulated to make the first edit of the film before anyone else in post-production can even touch the film. This allows for the director of any completed mainstream film at least a chance to realize his version in the edit before receiving feedback from the producers and editors, or the previews. Because the usual studio system is unequipped to deal with the Auteur's unique artistic vision, the Auteur License grants them Protection from Editors and an exemption from Executive Meddling. The ability to maintain Auteur License in the mainstream is directly proportional to how much money their films make at the box office and their capacity to avoid controversy. This is quite tricky needless to say, and some Auteurs risk biting off more than they can chew, and have had theirs revoked. Often the magic of the first groundbreaking film is impossible to reproduce and the result is becoming a Pigeonholed Director where rather than try and make different kinds of films, people expect a repeat of that first hit. At this state, the Auteur License can be revoked and the Auteur will be forced back into the art-house world or stuck making movies with much much less creative control. It's nonetheless possible however for a number of Auteurs to maintain the success of their first films and build their style into a valuable brand that can even absorb the occasional failure. An Auteur License is not to be confused with your run of the mill star power earned with consistently high grossing, top quality work. While all creative work can bear the artistic stamp of its author, an Auteur License grants the bearer the ability to make a piece far outside what is considered standard fare and that would not normally be greenlit. Protection from Editors is a less-positively related trope. When an Auteur license is revoked, see Fallen Creator. See also Prima Donna Director, when a big-name director has a (possibly justified) big ego. Contrast Executive Veto, Executive Meddling, Tough Act to Follow. Compare with Glory Days. May be a Copiously Credited Creator. See also First Installment Wins and One for the Money; One for the Art. Not related to Artistic License. |
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| Auteur License / int_10550610 | type |
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After Happy Days became a runaway hit, ABC let Garry Marshall tinker with the show as he saw fit (which is how Chuck Cunningham Syndrome and Jumping the Shark came to be), and basically picked up any new shows he produced. Some of them also became hits (Laverne & Shirley, Mork & Mindy), others flopped badly (Blansky's Beauties, Out of the Blue, Who's Watching the Kids?). | |
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Dream Theater were given full creative freedom for all of their future projects after the label's attempts at Executive Meddling lead to Falling Into Infinity being a commercial and critical failure. | |
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Fred Rogers was recognized early on as a pioneer in children's TV programming, so he was given carte blanche by PBS to create his own series in which he starred as on-screen host, producer, director, screenwriter, composer, and puppeteer. It ran for over 30 years. They also gave him a chance to do other projects like a prime time interview/magazine show called Old Friends, New Friends (which ran from 1976-79; Rogers put Neighborhood on hiatus to concentrate on that show). | |
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And, he actually said "screw you" to the Director's Guild in 1981 (after they demanded he put credits at the beginning of The Empire Strikes Back) and yet still manages to make movies, albeit with other talent willing to defy the union. This, sadly, scotched plans for Steven Spielberg directing Return of the Jedi. | |
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X-Men: The Krakoan Age: Jonathan Hickman was given the full reins here to turn the X-Men around from an Audience-Alienating Era and make them an A-list brand once again. First, he's considered the architect of the new status quo following House of X/Powers of X and writes not only the flagship ongoing, but also guides the creative teams with his supervision. Speaking of which, all creative teams were handpicked by him rather than being assigned those titles by Marvel, which essentially means everyone is operating under his blessing. | |
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Although Parks and Recreation never pulled in stellar ratings, the network never interfered with it and allowed it to end on its own terms. | |
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The application of this to the Tsubasa -RESERVoir CHRoNiCLE- anime was how Bee Train, while good at original works, ended up with a reputation for ill-advised adaptations. Their last work since 2012 is Hyouge Mono which suffered Troubled Production and was a Disowned Adaptation to the mangaka. | |
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Hüsker Dü, who signed with Warner (Bros.) Records in 1985, were promised creative freedom by the label, who decided to use the band's steadily-grown fanbase to turn a profit. Unfortunately, the band only released two albums on the label before breaking up. | |
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Blank Check with Griffin & David is based on this concept, following the filmographies of directors who were allowed to make passion projects and risky cinematic investments after big successes in their careers. | |
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Thad Komorowski discusses and criticises the concept in Sick Little Monkeys: The Unauthorized Ren & Stimpy Story. In the chapter "Don't Whiz On The Hand That Feeds You," Komorowski argues that auteurism is not a concept that works in animation simply because, moreso than live-action film, it requires too much input from multiple talents for it to be credited to one person. John K.'s Fatal Flaw is trying to get an entire team of artists, each with their own sensibilities and talents, not to create something that all looks like it was drawn by one artist but to create something that looks like he came up with everything himself despite not being able to do even half of what most of the other artists working on the show can. The narrative also insinuates that most of Kricfalusi's directing credits on Ren & Stimpy episodes weren't entirely deserved and that they were an act of the complete autocracy that he was attempting to produce the show under. | |
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They adopted Brooklyn Nine-Nine after Fox cancelled it. | |
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Kevin Feige maintains strict control of the MCU, making sure that all films maintain a common thematic thread. Some directors chafed at this and left the franchise during the Creative Committee's control of the franchise (like Jon Favreaunote Decided not to direct Iron Man 3 after being disappointed with the Executive Meddling of Iron Man 2 but remained involved as executive producer and his supporting role as Happy Hogan, Joss Whedonnote Became disillusioned with the final cut of Avengers: Age of Ultron and is no longer actively involved in Agents of S.H.I.E.L.D. as his brother Jed and his wife Maurissa Tancharoen serve as the main creative force behind the show, Edgar Wrightnote Left due to Creative Differences between him and the Creative Committee, months before Ant-Man began filming) and Patty Jenkins, but those who play ball are eventually given more responsibility and a lot more creative freedom to do what they want. | |
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Eternals, an Epic Movie about immortal space gods, based on an obscure and short-lived comic from the 70s that had spent most of the decades since in Comic-Book Limbo. While generally not as well-received as other Marvel films, it's regarded more as a worthy if less-than-successful experiment in breaking away from their usual formula than an outright failure. | |
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| Auteur License / int_56cb92c3 | type |
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After scoring an unexpected smash with Guardians of the Galaxy (2014), James Gunn was allowed to do pretty much whatever he wanted with Guardians of the Galaxy Vol. 2 and also made an executive producer on Infinity War and Endgame so he could give input on the Infinity Saga's Grand Finale. He was more or less given carte-blanche for Vol. 3 until he was fired, and retained that freedom when he was rehired. He was also given free reign over at DC when he swung public opinion back toward favorable with The Suicide Squad, which was followed by his being given near-complete creative control of Peacemaker (2022) and eventually being appointed co-CEO of DC Studios. | |
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Rob Reiner had hit it big critically and commercially with films like This is Spın̈al Tap, and was told that he could basically do anything he wanted next. When he told a film executive that he wanted to adapt his favorite book, The Princess Bride, he was told "anything but that!" The rest, however, is history, although he got a severe setback when he abused the Auteur License with North. | |
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In a more specific example, regular disputes over budgets and directions between the MCU's producer Kevin Feige and Marvel president Ike Perlmutter came to a head during production of Captain America: Civil War. The final result was that Disney removing Perlmutter as head of the movie division of the MCU and dismantling the Creative Committee that previously oversaw everything. Kevin Feige gained total control over Marvel Studios (though not Marvel Television) and answers only to Alan Horn of Walt Disney Studios directly. The success of the MCU films under Feige's watch should ensure he keeps this license for the foreseeable future and even gained him complete control over the MCU after Marvel Television was shuttered and TV and streaming projects were folded into Marvel Studios, leading to a new group of Disney+ series that unlike the pre-D+ MCU series, which had tenuous connections to the movies at best (most notably Agents of S.H.I.E.L.D., and even that eventually spun off into its own timeline to avoid addressing the events of Avengers: Infinity War), tie directly into the events of the movies. | |
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Due to the success of the BioShock franchise, Ken Levine held onto this for a while. Funnily enough, he dislikes being called an auteur. | |
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After being forced to chop down the theatrical cuts of Aliens and The Abyss, James Cameron got his after Terminator 2: Judgment Day. It was renewed after Titanic (1997) became the highest-grossing film of all time. Now that he's topped that feat with Avatar, it's safe to say that Cameron has a lifetime pass because his films practically grant licenses to print money. His license will last as long as his movies are profitable. The Studio actively debated interfering with Avatar as its costs spiraled only to be proven wrong when it made a ton of money. Had Avatar lost money it would have been revoked. | |
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After the sleeper hit that was Demon's Souls, director Hidetaka Miyazaki of FromSoftware has basically been given complete freedom to keep making his obtuse, unusual and challenging Action RPGs. Given the enormous success of both Dark Souls and Bloodborne, and the fact that he has since been promoted to president of From Software, his license is guaranteed for the foreseeable future. | |
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WB basically wrote him a blank check for $100 million to make Dunkirk as well as giving him an upfront salary of $20 million with 20% of the film’s gross. | |
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Randal Kleiser got his license after directing Grease, his first theatrical film to boot. Its success allowed him to finally make his passion project: The Blue Lagoon (1980). Although he had trouble finding a studio to back it, once Columbia Pictures picked it up he was free to personally choose who he wanted to work with, from cinematography (Néstor Almendros, who was nominated for an Oscar for his work) to scoring (Basil Poledouris) to lead actors Brooke Shields and Christopher Atkins, making sure to choose people who could stand to film four months in a remote island with little to no access to utilities. It paid off, sorta: the film was a huge commercial success, but it was critically panned. It could be argued that he lost his license with 1982's Summer Lovers, which was panned for much of the same things as The Blue Lagoon, but was not a box office smash. Kleiser's later films have been largely studio-driven, such as Disney's Flight of the Navigator, and his personal films like It's My Party have been nowhere near as succesful as either Grease or The Blue Lagoon. | |
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Schur's continued success at producing shows that inspire passionate fanbases prompted NBC to offer him 13 guaranteed episodes to do with as he wished. Recognizing how rare this opportunity was, Schur developed The Good Place, which thoughtfully examines complex philosophical concepts. When the show turned out to be a critical hit, NBC honored Schur's wishes to keep a firm 13-episode cap on each season and decision to bring it to a definitive end after just four seasons. The network even went out of its way to rearrange its schedule to allow Schur to end the story on his termsnote The finale was too long for a 60-minute slot but too short for a 90-minute slot. Instead of forcing Schur to cut the script or pad it out, NBC gave the show 90 minutes of air time and had Seth Meyers host a short aftershow to fill out the slot. | |
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Andrew Stanton, director of Finding Nemo and WALL•E, was granted one by Disney after they gave him a ton of money to make his passion project. Unfortunately, that project was John Carter, a film that lost Disney $200 million. Stanton has since gone back to Pixar full-time. | |
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Director Kiyotaka Taguchi’s first major project for the Ultra Series was Ultraman X, which ended up flopping enough to be a Trend Killer for traditions that dated back to the original Ultraman show, and his next show, Ultraman Orb, was primarily driven creatively by the writer. His next series, Ultraman Z saw him rewrite the script from scratch with one of his own colleagues rather than Tsuburaya’s staff writers, and excise full creative control over every episode, even ones he wasn’t attached to direct (though this didn’t stop Koichi Sakamoto from pulling a Wag the Director at one point), and for his next project, the studio head didn’t give him a pitch to work with, allowing him to create Ultraman Blazar from the ground up, with only some minor Executive Veto from Bandai. | |
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After a decade of often much-acclaimed films, both small- and large-scale (ranging from M*A*S*H to Nashville to 3 Women) Robert Altman got this for 1980's Popeye — a live-action, big-budget family musical based on the comic strip and cartoon hero — via super-producer Robert Evans. Unfortunately, the resultant film had a long, difficult shoot and got very mixed notices from critics, and wasn't nearly as profitable as the studios had hoped.note The movie grossed about $50 million domestically and another $10 million overseas on a budget of $20 million; not bad, but not a blockbuster either. Compare The Empire Strikes Back, released the same year and made on a roughly similar budget. Altman spent the remainder of the decade making much smaller-scale films that attracted little attention from anyone besides film critics — and it was just getting started! He didn't make his comeback until The Player in 1992. | |
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Koji "IGA" Igarashi, the man behind the Castlevania games since Castlevania: Symphony of the Night up until Castlevania: Harmony of Despair, definitely also applies. He left Konami and created an at-the-time record-breaking Kickstarter for his own game, Bloodstained: Ritual of the Night. Meanwhile, games of the series released after his departure have had mixed reactions, at best. | |
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For Tenet, WB gave him his biggest budget, ever, at $235 million, and creative freedom. The film is a completely original intellectual property and its three top-billed stars (John David Washington, Robert Pattinson, Elizabeth Debicki) are young up and comers with very little big-budget starring work between the three of them. Washington had never been in a big-budget film. Pattinson had led a franchise (Twilight ) but it had been eight years since its end by the time the film came out as he spent the rest of the 2010s building his resume in smaller projects. Debicki had the most big-budget work with supporting roles in The Great Gatsby (2013) and Guardians of the Galaxy Vol. 2 but hadn't led one yet. On top of all that, Warner Bros. stuck to its original cinematic release plans at Nolan's insistence, even as other major projects switched to streaming or indefinitely postponed their release dates due to the COVD-19 pandemic. | |
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After the success of Richard Wagner's early operas, he turned to what he termed "Gesamtkunstwerk" or "total work of art." The most famous example is The Ring of the Nibelung, which featured words, music, orchestration, production design, choreography, direction, and conducting all handled by Wagner himself— premiered in a concert hall that he designed and built for the purpose. | |
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After the critical acclaim and box office success of Captain America: The Winter Soldier, The Russo Brothers were given the opportunity to direct three of the MCU's major team-up films, including the concluding films of the Infinity Saga. | |
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Danny Antonucci was given near-total creative control over Ed, Edd n Eddy, directing and overseeing the production of every episode from the pilot to the Grand Finale TV movie. | |
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