History Main / AuteurLicense

24th May '17 1:25:07 PM Nikumubeki
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* {{CLAMP}} --the original authors of the aforementioned anime-- are not better in any significant way. They are famous for doing works that simply don't work-- ''Legal Drugs'', anyone? To make matters worse, they have a tendency to make a web of crossovers out of their works, which are ''many'' and have completely ''different'' premises. Damningly, such snarl is one of the things that ''Tsubasa'' is most often derided for.
15th Mar '17 11:28:31 PM JulianLapostat
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Sometimes, when a quirky visionary hits it big with a mainstream movie, he can do whatever he wants from that point on.

"Auteur theory" (coined by American film critic Andrew Sarris) 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"), with all other creative roles (writing, acting, cinematography, score, set design etc) being subsidiary to this. While the theory technically applies to all films, it has come to signify small independent "Art House" cinema that has a high degree of quirky, "[[LeFilmArtistique artistic]]" content. More often than not an Auteur director also writes much of the content of their work in order to ensure complete control over their creative vision -- hence the stereotype of the PrimaDonnaDirector.

Thus, an Auteur License is given to an Auteur-type director who makes movies or TV series with a strong artistic style and grants them immunity from having to compromise their artistic vision in a mainstream setting.

Usually Auteur directors are pertinently relegated to the art house circuit as their films are generally deemed unmarketable to a wide audience. As such their films are appropriately cost constrained to avoid them spending large amounts of money on a film that few people will see. However, every so often work by an Auteur director will strike it big with a mass audience and either make an inordinate amount of money, earn a plethora of awards or both. In these cases the director may be granted an Auteur License by the film industry to make their unique type of films for a mainstream audience with a mainstream budget.

Because the usual studio system is unequipped to deal with the Auteur's unique artistic vision, the Auteur License grants them ProtectionFromEditors and an exemption from ExecutiveMeddling. This sort of treatment may cause the previously under known director to get an inflated ego, but an Auteur License does not imply this outcome.

The '''Auteur License''' is valid for as long as the Auteur director's work continues to make money at the box office. For some Auteurs this can last quite a long time, while others [[DarthWiki/FallenCreator have had theirs revoked]] before their first piece is even fully realized. More often than not the magic of the first groundbreaking film is [[ToughActToFollow impossible to reproduce]] and result can range from something mediocre to box office bomb to the complete bankruptcy of the production company or studio. 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 [[CreativityLeash creative control]]. However there have been quite a number of Auteurs that can maintain the success of their first films and build their style into a valuable brand that can even insulate their License from 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 green lit.

Not that this has to mean high art: As WilliamGoldman pointed out, if you think about it, Russ Meyer fit this perfectly. He produced and wrote his movies all by himself, also did the camera work and the cut, and definitely had [[GagBoobs his unique, very personal artistic vision]], [[LampshadedDoubleEntendre if you know what we mean]].

to:

Sometimes, This refers to when individuals leading a quirky visionary hits it big with a mainstream movie, he can do whatever he wants from large collaborative project have full freedom to complete that point on.

"Auteur theory" (coined by American film critic Andrew Sarris) states that a film is
project as per their vision, without any commercial or social constraints. They can decide the result story, how it looks like, who to cast, the length and pace of its the film, and whether it can end as per the director's personal creative vision, as if he were the primary "Auteur" (the French word for "author"), with all other creative roles (writing, acting, cinematography, score, set design etc) being subsidiary to this. While the theory technically applies to all films, it has come to signify small independent "Art House" cinema that has a high degree of quirky, "[[LeFilmArtistique artistic]]" content. More often wishes rather than not an Auteur director also writes much of the content of their work in order to ensure complete control over their creative vision -- hence the stereotype of the PrimaDonnaDirector.

Thus, an Auteur License is given to an Auteur-type director who makes movies or TV series with
a strong artistic style and grants them immunity from having to compromise their artistic vision in a mainstream setting.FocusGroupEnding.

Usually Auteur directors are pertinently relegated The name refers to UsefulNotes/TheAuteurTheory, translated by American film critic Andrew Sarris from the art house circuit as their films are generally deemed unmarketable to a wide audience. As such their films are appropriately cost constrained to avoid them spending large amounts of money on 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 ProductionPosse, and individually connote parts of a whole that few people will see. However, every so often work by an Auteur director will strike it big with a mass audience and either make an inordinate amount of money, earn a plethora of awards or both. In these cases only the director may be granted an Auteur License can properly shape by say determining camera placement, the film industry 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 UsefulNotes/TheGoldenAgeOfHollywood. 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 unique type wishes rather than the demands of films for 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 audience with a American movies, and in general, this trope is significant when film-makers working in the mainstream budget.

have final cut. In America, even after the end of UsefulNotes/TheHaysCode[[note]]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[[/note]], directors still struggle with ExecutiveMeddling. A situation different from Europe, where directors not only have director's cut ''by law'' but also hold copyright[[note]]Which even directors with final cut don't have in America. They only retain it when they are also producers of their films[[/note]].

Because the usual studio system is unequipped to deal with the Auteur's unique artistic vision, the Auteur License grants them ProtectionFromEditors and an exemption from ExecutiveMeddling. This sort of treatment may cause the previously under known director to get an inflated ego, but an Auteur License does not imply this outcome.\n\n

The ability to maintain '''Auteur License''' is valid for as long as in the Auteur director's work continues mainstream is directly proportional to make how much money their films make at the box office. For office and their capacity to avoid controversy. This is quite tricky needless to say, and some Auteurs this risk biting off more than they can last quite a long time, while others chew, and [[DarthWiki/FallenCreator have had theirs revoked]] before their first piece is even fully realized. More often than not revoked]]. Often the magic of the first groundbreaking film is [[ToughActToFollow impossible to reproduce]] and the result can range from something mediocre to box office bomb to the complete bankruptcy is becoming a PigeonholedDirector where rather than try and make different kinds of the production company or studio.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 [[CreativityLeash creative control]]. However there have been quite It's nonetheless possible however for a number of Auteurs that can to maintain the success of their first films and build their style into a valuable brand that can even insulate their License from 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 green lit.

Not that this has to mean high art: As WilliamGoldman pointed out, if you think about it, Russ Meyer fit this perfectly. He produced and wrote his movies all by himself, also did the camera work and the cut, and definitely had [[GagBoobs his unique, very personal artistic vision]], [[LampshadedDoubleEntendre if you know what we mean]].
lit.
26th Feb '17 6:48:55 PM hipsterelephant
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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 Favreau[[note]]Decided not to direct ''Film/IronMan3'' after being disappointed with the ExecutiveMeddling of ''Film/IronMan2'' but remained involved as executive producer and his supporting role as Happy Hogan[[/note]], Joss Whedon[[note]]Became disillusioned with the final cut of ''Film/AvengersAgeOfUltron'' and is no longer actively involved in ''Series/AgentsOfSHIELD'' as his brother Jed and his wife Maurissa Tancharoen serve as the main creative force behind the show[[/note]], and Edgar Wright[[note]]Left due to CreativeDifferences between him and the Creative Committee, months before ''Film/AntMan'' began filming[[/note]]), but those who play ball are eventually given more responsibility and a lot more creative freedom to do what they want (like the Russo Brothers[[note]]Given ''three'' of the MCU's major team-up films[[/note]], James Gunn[[note]]Allowed to do pretty much whatever he wanted with ''Guardians of the Galaxy Part 2''[[/note]], and Peyton Reed[[note]]Marvel rearranged Phase 3 specifically to give him ''Ant-Man and the Wasp''[[/note]]) with the projects they are tasked with helming.

to:

** 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 Favreau[[note]]Decided not to direct ''Film/IronMan3'' after being disappointed with the ExecutiveMeddling of ''Film/IronMan2'' but remained involved as executive producer and his supporting role as Happy Hogan[[/note]], Joss Whedon[[note]]Became disillusioned with the final cut of ''Film/AvengersAgeOfUltron'' and is no longer actively involved in ''Series/AgentsOfSHIELD'' as his brother Jed and his wife Maurissa Tancharoen serve as the main creative force behind the show[[/note]], and Edgar Wright[[note]]Left due to CreativeDifferences between him and the Creative Committee, months before ''Film/AntMan'' began filming[[/note]]), but those who play ball are eventually given more responsibility and a lot more creative freedom to do what they want (like the Russo Brothers[[note]]Given ''three'' of the MCU's major team-up films[[/note]], James Gunn[[note]]Allowed Creator/JamesGunn[[note]]Allowed to do pretty much whatever he wanted with ''Guardians of the Galaxy Part 2''[[/note]], and Peyton Reed[[note]]Marvel rearranged Phase 3 specifically to give him ''Ant-Man and the Wasp''[[/note]]) with the projects they are tasked with helming.
21st Feb '17 1:07:23 PM CalaverX11
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* Director Creator/MNightShyamalan had a breakout hit with ''Film/TheSixthSense'' and was granted an Auteur License that allowed him to produce more of his signature TwistEnding films. While the next film ''Film/{{Unbreakable}}'' achieved some success, and ''Film/{{Signs}}'' was another hit, ''Film/TheVillage'' made money but lost some critical respect. His next two films were outright flops, and Shyamalan became a target of mockery. His Auteur License was revoked right after he tried to show it off in ''Film/LadyInTheWater'', and now he is having to make films from established franchises instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]].

to:

* Director Creator/MNightShyamalan had a breakout hit with ''Film/TheSixthSense'' and was granted an Auteur License that allowed him to produce more of his signature TwistEnding films. While the next film ''Film/{{Unbreakable}}'' achieved some success, and ''Film/{{Signs}}'' was another hit, ''Film/TheVillage'' made money but lost some critical respect. His next two films were outright flops, and Shyamalan became a target of mockery. His Auteur License was revoked right after he tried to show it off in ''Film/LadyInTheWater'', and now he is having to make films from established franchises instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. However, between the critical success of Film/TheVisit and the sleeper hit Film/{{Split}}, [[CareerResurrection he seems to be on his way back up]].
30th Jan '17 11:27:04 AM Smeagol17
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* Creator/HideoKojima had this for a good while, leading to the current firestorm when Creator/{{Konami}} attempted to revoke it. Amusingly, it first came about when his superiors demanded he create a war game and proceeded to design [[StealthBasedGame one that discourages killing]]. Time will tell if Konami has any chance of recovering from the massive backlash surrounding this.

to:

* Creator/HideoKojima had this for a good while, leading to the current firestorm when Creator/{{Konami}} attempted to revoke it. Amusingly, it first came about when his superiors demanded he create a war game and proceeded to design [[StealthBasedGame one that discourages killing]]. Time will tell if Konami has any chance of recovering from the massive backlash surrounding this.
19th Jan '17 1:20:08 AM sayaleviathan
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* The application of this to the ''Anime/TsubasaReservoirChronicle'' anime was how Creator/BeeTrain, while [[Anime/{{Noir}} good]] [[Anime/{{Madlax}} at]] [[Anime/ElCazadorDeLaBruja original works]], ended up with a reputation for ill-advised adaptations. Their last work since 2012 is ''Manga/HyogoMono'' which suffered TroubleProduction and experienced CreatorBacklash from the mangaka.

to:

* The application of this to the ''Anime/TsubasaReservoirChronicle'' anime was how Creator/BeeTrain, while [[Anime/{{Noir}} good]] [[Anime/{{Madlax}} at]] [[Anime/ElCazadorDeLaBruja original works]], ended up with a reputation for ill-advised adaptations. Their last work since 2012 is ''Manga/HyogoMono'' ''Manga/HyougeMono'' which suffered TroubleProduction TroubledProduction and experienced CreatorBacklash from the mangaka.
19th Jan '17 1:19:13 AM sayaleviathan
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* The application of this to the ''Anime/TsubasaReservoirChronicle'' anime was how Creator/BeeTrain, while [[Anime/{{Noir}} good]] [[Anime/{{Madlax}} at]] [[Anime/ElCazadorDeLaBruja original works]], ended up with a reputation for ill-advised adaptations. Their last work is ''Manga/HyougoMono'' which suffered TroubleProduction and experienced CreatorBacklash from the mangaka. Eventually, the studio became dormant since 2012 and its founder and director retired from the industry.

to:

* The application of this to the ''Anime/TsubasaReservoirChronicle'' anime was how Creator/BeeTrain, while [[Anime/{{Noir}} good]] [[Anime/{{Madlax}} at]] [[Anime/ElCazadorDeLaBruja original works]], ended up with a reputation for ill-advised adaptations. Their last work since 2012 is ''Manga/HyougoMono'' ''Manga/HyogoMono'' which suffered TroubleProduction and experienced CreatorBacklash from the mangaka. Eventually, the studio became dormant since 2012 and its founder and director retired from the industry.
19th Jan '17 1:18:19 AM sayaleviathan
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* The application of this to the ''Anime/TsubasaReservoirChronicle'' anime was how Creator/BeeTrain, while [[Anime/{{Noir}} good]] [[Anime/{{Madlax}} at]] [[Anime/ElCazadorDeLaBruja original works]], ended up with a reputation for ill-advised adaptations.

to:

* The application of this to the ''Anime/TsubasaReservoirChronicle'' anime was how Creator/BeeTrain, while [[Anime/{{Noir}} good]] [[Anime/{{Madlax}} at]] [[Anime/ElCazadorDeLaBruja original works]], ended up with a reputation for ill-advised adaptations. Their last work is ''Manga/HyougoMono'' which suffered TroubleProduction and experienced CreatorBacklash from the mangaka. Eventually, the studio became dormant since 2012 and its founder and director retired from the industry.
18th Dec '16 1:36:41 AM AlternativeCola
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18th Dec '16 1:36:38 AM AlternativeCola
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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 Favreau[[note]]Decided not to direct ''Film/IronMan3'' after being disappointed with the ExecutiveMeddling of ''Film/IronMan2'' but remained involved as executive producer and his supporting role as Happy Hogan[[/note]], Joss Whedon[[note]]Became disillusioned with the final cut of ''Film/AvengersAgeOfUltron'' and is no longer actively involved in ''Series/AgentsOfSHIELD'' as his brother Jed and his wife Maurissa Tancharoen serve as the main creative force behind the show[[/note]], and Edgar Wright[[note]]Left due to CreativeDifferences between him and the Creative Committee, months before before filming began[[/note]]), but those who play ball are eventually given more responsibility and a lot more creative freedom to do what they want (like the Russo Brothers[[note]]Given ''three'' of the MCU's major team-up films[[/note]], James Gunn[[note]]Allowed to do pretty much whatever he wanted with ''Guardians of the Galaxy Part 2''[[/note]], and Peyton Reed[[note]]Marvel rearranged Phase 3 specifically to give him ''Ant-Man and the Wasp''[[/note]]) with the projects they are tasked with helming.

to:

** 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 Favreau[[note]]Decided not to direct ''Film/IronMan3'' after being disappointed with the ExecutiveMeddling of ''Film/IronMan2'' but remained involved as executive producer and his supporting role as Happy Hogan[[/note]], Joss Whedon[[note]]Became disillusioned with the final cut of ''Film/AvengersAgeOfUltron'' and is no longer actively involved in ''Series/AgentsOfSHIELD'' as his brother Jed and his wife Maurissa Tancharoen serve as the main creative force behind the show[[/note]], and Edgar Wright[[note]]Left due to CreativeDifferences between him and the Creative Committee, months before before filming began[[/note]]), ''Film/AntMan'' began filming[[/note]]), but those who play ball are eventually given more responsibility and a lot more creative freedom to do what they want (like the Russo Brothers[[note]]Given ''three'' of the MCU's major team-up films[[/note]], James Gunn[[note]]Allowed to do pretty much whatever he wanted with ''Guardians of the Galaxy Part 2''[[/note]], and Peyton Reed[[note]]Marvel rearranged Phase 3 specifically to give him ''Ant-Man and the Wasp''[[/note]]) with the projects they are tasked with helming.
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