History Main / AuteurLicense

17th Jul '17 4:21:00 PM rjd1922
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* For ''Creator/TaroYoko'' this came into effect after ''VideoGame/NieR''. During the development of the first ''VideoGame/{{Drakengard}}'', Yoko had to continuously fight Square to keep his and the team's distinct artistic vision intact, because Square was afraid the game was too dark and nihilistic. After the game managed to win over a small but dedicated fanbase, Square was willing to fund a second game but wanted something more marketable, and to that end he was only lightly involved with ''Drakengard 2''. However, this lead to one of the more divisive games in the series exactly because of its LighterAndSofter nature, and as a result he was allowed back in the director's seat for the franchise with ''[=NieR=]'', a GaidenGame. Though it wasn't very profitable it eventually became a CultClassic and widely considered an amazing game. Due to its critical success Yoko has essentially been given free rein to do as he pleases, though it stands that his games still don't sell all that well, leading him to wonder if Square is insane for continuing to fund them.

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* For ''Creator/TaroYoko'' Creator/TaroYoko this came into effect after ''VideoGame/NieR''. During the development of the first ''VideoGame/{{Drakengard}}'', Yoko had to continuously fight Square to keep his and the team's distinct artistic vision intact, because Square was afraid the game was too dark and nihilistic. After the game managed to win over a small but dedicated fanbase, Square was willing to fund a second game but wanted something more marketable, and to that end he was only lightly involved with ''Drakengard 2''. However, this lead to one of the more divisive games in the series exactly because of its LighterAndSofter nature, and as a result he was allowed back in the director's seat for the franchise with ''[=NieR=]'', a GaidenGame. Though it wasn't very profitable it eventually became a CultClassic and widely considered an amazing game. Due to its critical success Yoko has essentially been given free rein to do as he pleases, though it stands that his games still don't sell all that well, leading him to wonder if Square is insane for continuing to fund them.
15th Jul '17 10:45:09 PM JulianLapostat
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* Creator/FrankCapra was notable for getting one of these in the confines of the studio system during TheGoldenAgeOfHollywood. ''Film/ItHappenedOneNight'' was a SleeperHit that basically turned Creator/ColumbiaPictures into a major studio overnight, and became to first film to sweep the "Big 5" Oscars (Best Picture, Actor, Actress, Director, Screenplay). After that Columbia gave him carte blanche to do what he wanted, and he was one of the first directors to become a household name (he later called his autobiography ''The Name Above the Title''). After a while he clashed with Columbia chief Harry Cohn and moved on, but he still had major clout to make several early attempts at setting up an independent production company. He fell out of favor with the public after World War II but still had a strong legacy as a filmmaker. Ironically, Andrew Sarris slammed him viciously in ''The American Cinema'', but his top films have been since VindicatedByHistory.

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* While it's an era often seen as "the studio system", a number of directors in the studio actually had AuteurLicense:
** Creator/ErnstLubitsch benefited from being his own producer (and briefly in charge of production of other films at Paramount), and his films were openly marketed as having "the Lubitsch touch"[[note]]Which is defined by film critics as "I can't explain it, but I can recognize it when I see it"[[/note]]. All of his films were produced per his wishes and he was a film-maker who was quite famous and well known in the time. ''Film/SullivansTravels'' for instance has Veronica Lake noting that she wants to audition for a Lubitsch film.
**
Creator/FrankCapra was notable for getting one of these in another film-maker who was quite famous and well known to the confines of the studio system during TheGoldenAgeOfHollywood.public. ''Film/ItHappenedOneNight'' was a SleeperHit that basically turned Creator/ColumbiaPictures into a major studio overnight, and became to first film to sweep the "Big 5" Oscars (Best Picture, Actor, Actress, Director, Screenplay). After that Columbia gave him carte blanche to do what he wanted, and he was one of the first directors to become a household name (he later called his autobiography ''The Name Above the Title''). After a while he clashed with Columbia chief Harry Cohn and moved on, but on. In TheForties, he still had major clout co-operated with Creator/WilliamWyler and Creator/GeorgeStevens to make several early attempts at setting up form an independent production company. company which fell apart with the flop of ''Film/ItsAWonderfulLife''. He fell out of favor with the public after World War II but still had a strong legacy as a filmmaker. II, making six films after that albeit living long enough for his films to be rediscovered. Ironically, Andrew Sarris slammed him viciously in ''The American Cinema'', but Cinema'' since, in his top view Capra was a little too well-known compared to the LesserStar he wanted to elevate (and the fact that Capra's career visibly declined which was against auteurist beliefs[[note]]Since they argued that all films made by an auteur, or a great director were worth seeing, and that the idea that talent can run up, was heresy, Capra was not simpatico[[/note]] but he was respected both by his peers and by younger film-makers, and he lived to see ''Film/ItsAWonderfulLife'' become VindicatedByHistory.
** Writer-Directors in the Golden Age generally had AuteurLicense, and indeed many of them claimed they became directors to protect their scripts from PrimaDonnaDirector who didn't understand the stuff they put on page. Examples include, Creator/PrestonSturges, a very active and respected screenwriter throughout TheThirties, who made a series of extremely successful and influential comedies in TheForties, Creator/JosephLMankiewicz (who began as a producer, then a screenwriter and then writer-director), famous for ''Film/AllAboutEve'' (he lost his during the production of ''Film/{{Cleopatra}}'', aka the movie that killed the Golden Age), and Lubitsch's apprentice, Creator/BillyWilder (who had it for most of his career but lost it during ''Film/ThePrivateLifeOfSherlockHolmes'').
** Careful research has actually shown that a number of directors people saw as journeyman were actually quite shrewd and domineering. Creator/HowardHawks for instance who's often seen as a nuts-and-bolts film-maker who didn't
have been since VindicatedByHistory.a style, was careful to avoid making films at any one studio and work as a free agent, thereby allowing him freedom to not be tied to making one kind of film in one kind of style for too long. Creator/AlfredHitchcock, from ''Film/{{Notorious}}'' onwards made films his way, and Creator/OttoPreminger was especially bold and fearless in not only making his films as per his vision, but repeatedly, and successfully, challenging censorship and doing more than any other film-maker of his time, to improve freedom of expression in Hollywood. Both Hitchcock and Preminger were the two most well-known film-makers of their era, and public celebrities, hence the reason for Hitchcock promoting a successful TV show based on his own brand, and Preminger being enough of a household name that he appeared as Mr. Freeze in ''Series/{{Batman}}''.
15th Jul '17 10:14:10 PM Ezclee4050
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* After ''Series/HappyDays'' became a runaway hit, {{Creator/ABC}} let Creator/GarryMarshall tinker with the show as he saw fit (which is how ChuckCunninghamSyndrome and JumpingTheShark came to be), and basically picked up any new shows he produced. Some of them also became hits (''Series/LaverneAndShirley'', ''Series/MorkAndMindy''), others flopped badly (''Blansky's Beauties'', ''Out of the Blue'', ''Who's Watching the Kids?'').

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* After ''Series/HappyDays'' became a runaway hit, {{Creator/ABC}} let Creator/GarryMarshall tinker with the show as he saw fit (which is how ChuckCunninghamSyndrome and JumpingTheShark came to be), and basically picked up any ''any'' new shows he produced. Some of them also became hits (''Series/LaverneAndShirley'', ''Series/MorkAndMindy''), others flopped badly (''Blansky's Beauties'', ''Out of the Blue'', ''Who's Watching the Kids?'').
15th Jul '17 10:11:31 PM Ezclee4050
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* Creator/FrankCapra was notable for getting one of these in the confines of the studio system during TheGoldenAgeOfHollywood. ''Film/ItHappenedOneNight'' was a SleeperHit that basically turned Creator/ColumbiaPictures into a major studio overnight, and became to first film to sweep the "Big 5" Oscars (Best Picture, Actor, Actress, Director, Screenplay). After that he had carte blanche to do what he wanted, and he was one of the first directors to become a household name (he later called his autobiography ''The Name Above the Title''). After a while he clashed with Columbia chief Harry Cohn and moved on, but he still had major clout to make several early attempts at setting up an independent production company. He fell out of favor with the public after World War II but still had a strong legacy as a filmmaker. Ironically, Andrew Sarris slammed him viciously in ''The American Cinema'', but his top films have been since VindicatedByHistory.

to:

* Creator/FrankCapra was notable for getting one of these in the confines of the studio system during TheGoldenAgeOfHollywood. ''Film/ItHappenedOneNight'' was a SleeperHit that basically turned Creator/ColumbiaPictures into a major studio overnight, and became to first film to sweep the "Big 5" Oscars (Best Picture, Actor, Actress, Director, Screenplay). After that he had Columbia gave him carte blanche to do what he wanted, and he was one of the first directors to become a household name (he later called his autobiography ''The Name Above the Title''). After a while he clashed with Columbia chief Harry Cohn and moved on, but he still had major clout to make several early attempts at setting up an independent production company. He fell out of favor with the public after World War II but still had a strong legacy as a filmmaker. Ironically, Andrew Sarris slammed him viciously in ''The American Cinema'', but his top films have been since VindicatedByHistory.
15th Jul '17 6:41:20 PM Ezclee4050
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Added DiffLines:

* After ''Series/HappyDays'' became a runaway hit, {{Creator/ABC}} let Creator/GarryMarshall tinker with the show as he saw fit (which is how ChuckCunninghamSyndrome and JumpingTheShark came to be), and basically picked up any new shows he produced. Some of them also became hits (''Series/LaverneAndShirley'', ''Series/MorkAndMindy''), others flopped badly (''Blansky's Beauties'', ''Out of the Blue'', ''Who's Watching the Kids?'').
* {{Creator/CBS}} gave Creator/ChuckLorre the Garry Marshall/ABC treatment after ''Series/TwoAndAHalfMen'' hit it big.
15th Jul '17 4:06:39 PM Ezclee4050
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Added DiffLines:

* Creator/FrankCapra was notable for getting one of these in the confines of the studio system during TheGoldenAgeOfHollywood. ''Film/ItHappenedOneNight'' was a SleeperHit that basically turned Creator/ColumbiaPictures into a major studio overnight, and became to first film to sweep the "Big 5" Oscars (Best Picture, Actor, Actress, Director, Screenplay). After that he had carte blanche to do what he wanted, and he was one of the first directors to become a household name (he later called his autobiography ''The Name Above the Title''). After a while he clashed with Columbia chief Harry Cohn and moved on, but he still had major clout to make several early attempts at setting up an independent production company. He fell out of favor with the public after World War II but still had a strong legacy as a filmmaker. Ironically, Andrew Sarris slammed him viciously in ''The American Cinema'', but his top films have been since VindicatedByHistory.
17th Jun '17 9:57:06 AM nombretomado
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* KurtVonnegut used and abused his novelistic auteur license to write a novel illustrated with his own quirky line drawings in which he [[AuthorGuestSpot features as a character]] (the wonderful ''Breakfast of Champions'') and a semi-novel about his abortive attempt to write a novel called ''Timequake''. It contains many parts of the ''Timequake'' story itself, interspersed with Vonnegut just talking about life, himself, and how things are going in general, and is generally touching.

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* KurtVonnegut Creator/KurtVonnegut used and abused his novelistic auteur license to write a novel illustrated with his own quirky line drawings in which he [[AuthorGuestSpot features as a character]] (the wonderful ''Breakfast of Champions'') and a semi-novel about his abortive attempt to write a novel called ''Timequake''. It contains many parts of the ''Timequake'' story itself, interspersed with Vonnegut just talking about life, himself, and how things are going in general, and is generally touching.
6th Jun '17 9:46:47 PM bombadil211
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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]], 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.

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]], Creator/JamesGunn[[note]]Allowed to do pretty much whatever he wanted with ''Guardians of the Galaxy Part 2''[[/note]], ''Film/GuardiansOfTheGalaxyVol2'' and more or less given carte-blanche for ''Vol. 3''[[/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.
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]].

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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]].
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