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The name refers to UsefulNotes/TheAuteurTheory, 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 ProductionPosse, 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 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 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 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]] and the rise of UsefulNotes/NewHollywood, 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]]. In America, thanks to the DGA during the presidency of Creator/RobertAldrich, 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.
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 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]] and the rise of UsefulNotes/NewHollywood, 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]]. In America, thanks to the DGA during the presidency of Creator/RobertAldrich, 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.
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The name refers to UsefulNotes/TheAuteurTheory, MediaNotes/TheAuteurTheory, 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 ProductionPosse, 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 UsefulNotes/TheGoldenAgeOfHollywood.MediaNotes/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 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 ofUsefulNotes/TheHaysCode[[note]]Where MediaNotes/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]] and the rise of UsefulNotes/NewHollywood, MediaNotes/NewHollywood, 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]]. In America, thanks to the DGA during the presidency of Creator/RobertAldrich, 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.
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
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* Creator/CharlieChaplin was among the first to demonstrate this trope in American film. With his films being fairly consistently hailed big hits, he could take chances like a straight drama for his first Creator/UnitedArtists film, ''Film/AWomanOfParis'', keep ''Film/CityLights'' and ''Film/ModernTimes'' largely silent in UsefulNotes/TheGoldenAgeOfHollywood, make fun of UsefulNotes/AdolfHitler in ''Film/TheGreatDictator'' and do a BlackComedy in ''Film/MonsieurVerdoux''.
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* Creator/CharlieChaplin was among the first to demonstrate this trope in American film. With his films being fairly consistently hailed big hits, he could take chances like a straight drama for his first Creator/UnitedArtists film, ''Film/AWomanOfParis'', keep ''Film/CityLights'' and ''Film/ModernTimes'' largely silent in UsefulNotes/TheGoldenAgeOfHollywood, MediaNotes/TheGoldenAgeOfHollywood, make fun of UsefulNotes/AdolfHitler in ''Film/TheGreatDictator'' and do a BlackComedy in ''Film/MonsieurVerdoux''.
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* Music/DreamTheater were given full creative freedom for all of their future projects after the label's attempts at ExecutiveMeddling lead to ''Falling Into Infinity'' being a commercial and critical failure.
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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 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]]. In America, thanks to the DGA during the presidency of Creator/RobertAldrich, 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.
to:
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 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]], compromise[[/note]] and the rise of UsefulNotes/NewHollywood, 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]]. In America, thanks to the DGA during the presidency of Creator/RobertAldrich, 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.
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*** ''Film/{{Eternals}}'', an EpicMovie about immortal space gods. 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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*** ''Film/{{Eternals}}'', an EpicMovie about immortal space gods.gods, based on [[ComicBook/TheEternals an obscure and short-lived comic from the 70s]] that had spent most of the decades since in ComicBookLimbo. 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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Removing a bit about how Eternals "hasn't really affected Marvel's reputation", considering they're widely considered to be in an Audience Alienating Era right now and the reputation is taking a hit (even if Eternals only seems to be a footnote in that).
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*** ''Film/{{Eternals}}'', an EpicMovie about immortal space gods. While generally not as well-received as other Marvel films, it hasn't really affected the studio's reputation; and it's more regarded as a worthy if less-than-successful experiment in breaking away from their usual formula than an outright failure.
** 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 ''Film/CaptainAmericaCivilWar''. 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 Creator/DisneyPlus series that unlike the pre-D+ MCU series, which had tenuous connections to the movies at best (most notably ''Series/AgentsOfSHIELD'', and even that eventually spun off into its own timeline to avoid addressing the events of ''Film/AvengersInfinityWar''), will tie directly into the events of the movies.
** 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 ''Film/CaptainAmericaCivilWar''. 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 Creator/DisneyPlus series that unlike the pre-D+ MCU series, which had tenuous connections to the movies at best (most notably ''Series/AgentsOfSHIELD'', and even that eventually spun off into its own timeline to avoid addressing the events of ''Film/AvengersInfinityWar''), will tie directly into the events of the movies.
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*** ''Film/{{Eternals}}'', an EpicMovie about immortal space gods. While generally not as well-received as other Marvel films, it hasn't really affected the studio's reputation; and it's more regarded more as a worthy if less-than-successful experiment in breaking away from their usual formula than an outright failure.
** 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 ''Film/CaptainAmericaCivilWar''. 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 Creator/DisneyPlus series that unlike the pre-D+ MCU series, which had tenuous connections to the movies at best (most notably ''Series/AgentsOfSHIELD'', and even that eventually spun off into its own timeline to avoid addressing the events of ''Film/AvengersInfinityWar''),will tie directly into the events of the movies.
** 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 ''Film/CaptainAmericaCivilWar''. 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 Creator/DisneyPlus series that unlike the pre-D+ MCU series, which had tenuous connections to the movies at best (most notably ''Series/AgentsOfSHIELD'', and even that eventually spun off into its own timeline to avoid addressing the events of ''Film/AvengersInfinityWar''),
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** After scoring and unexpected smash with ''Film/GuardiansOfTheGalaxy2014'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. 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 rein over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' which was followed by his being given near-complete creative control of ''Series/Peacemaker2022'' and eventually being appointed co-CEO of Creator/DCStudios.
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** After scoring and an unexpected smash with ''Film/GuardiansOfTheGalaxy2014'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. He was more or less given carte-blanche for ''Vol. 3'' until he was fired fired, and retained that freedom when he was rehired. He was also given free rein reign over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' ''Film/TheSuicideSquad'', which was followed by his being given near-complete creative control of ''Series/Peacemaker2022'' and eventually being appointed co-CEO of Creator/DCStudios.
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* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of what became ''Film/TheRiseOfSkywalker'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'' and the hesitancy of Creator/{{Disney}} and/or Creator/{{Lucasfilm}} to greenlight more ''Star wars'' films, much uncertainty remains on whether or not he will get to make that trilogy. He's found success elsewhere with ''Film/KnivesOut'', the sequels of which, including ''Film/GlassOnion'', were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining full creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery and Creator/DCStudios. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her her ''[[Franchise/StarWars Rogue Squadron]]'' and ''Cleopatra'' projects as well.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery and Creator/DCStudios. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her her ''[[Franchise/StarWars Rogue Squadron]]'' and ''Cleopatra'' projects as well.
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* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of what became ''Film/TheRiseOfSkywalker'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'' and the hesitancy of Creator/{{Disney}} and/or Creator/{{Lucasfilm}} to greenlight more ''Star wars'' Wars'' films, much uncertainty remains on whether or not he will get to make that trilogy. He's found success elsewhere with ''Film/KnivesOut'', the sequels of which, including ''Film/GlassOnion'', were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining full creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros.signed sign her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed have since however changed, however, considering how said sequel underperformed critically and financially, financially; especially in light of the massive changes, future IP plans plans, and cost cuts brought by the creation of Creator/WarnerBrosDiscovery and Creator/DCStudios. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her her ''[[Franchise/StarWars Rogue Squadron]]'' and ''Cleopatra'' projects as well.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros.
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* Director Kiyotaka Taguchi’s first major project for the Franchise/UltraSeries was Series/UltramanX, which ended up flopping enough to be a TrendKiller for traditions that [[GrandfatherClause dated back to the original Ultraman show]], and his next show, Series/UltramanOrb, was primarily driven creatively by the writer. His next series, Series/UltramanZ 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 WagTheDirector at one point), and for his next project, the studio head didn’t give him a pitch to work with, allowing him to create Series/UltramanBlazar from the ground up, with only some minor ExecutiveVeto from Bandai.
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Renamed trope
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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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}}'', [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately, the critical panning and lackluster box office of ''Film/Glass2019'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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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'' ''Film/TheVillage2004'' 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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}}'', [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately, the critical panning and lackluster box office of ''Film/Glass2019'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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** After scoring and unexpected smash with ''Film/GuardiansOfTheGalaxy2014'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. 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 rein over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' which was followed by his being given near-complete creative control of ''Series/{{Peacemaker}}'' and eventually being appointed co-CEO of Creator/DCStudios.
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** After scoring and unexpected smash with ''Film/GuardiansOfTheGalaxy2014'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. 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 rein over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' which was followed by his being given near-complete creative control of ''Series/{{Peacemaker}}'' ''Series/Peacemaker2022'' and eventually being appointed co-CEO of Creator/DCStudios.
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Contrast ExecutiveVeto, ExecutiveMeddling, ToughActToFollow. Compare with GloryDays. May be a CopiouslyCreditedCreator. See also FirstInstallmentWins. Not related to ArtisticLicense.
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Contrast ExecutiveVeto, ExecutiveMeddling, ToughActToFollow. Compare with GloryDays. May be a CopiouslyCreditedCreator. See also FirstInstallmentWins.FirstInstallmentWins and OneForTheMoneyOneForTheArt. Not related to ArtisticLicense.
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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, who to cast, the length and pace of the film, and whether it can end as per the director's wishes rather than a FocusGroupEnding.
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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, who whom to cast, the length and pace of the film, and whether it can end as per the director's wishes rather than a FocusGroupEnding.
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* Truly talented director Creator/MichaelCimino got his license with ''Film/TheDeerHunter'' and promptly lost it with ''Film/HeavensGate''.
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* Truly talented director Creator/MichaelCimino Creator/{{Michael Cimino|Director}} got his license with ''Film/TheDeerHunter'' and promptly lost it with ''Film/HeavensGate''.
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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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}}'', [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately the critical panning and lacklustre box office of ''Film/{{Glass}}'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}}'', [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately Unfortunately, the critical panning and lacklustre lackluster box office of ''Film/{{Glass}}'' ''Film/Glass2019'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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* Creator/DenisVilleneuve, certainly has this for the time being. Not all of his movies have done well, but his so-far-unbroken streak of critically-acclaimed films (his '''worst'''-reviewed film, ''Enemy'', still has a 73% approval rating on Rotten Tomatoes) has impressed the critics enough for studios to let him tackle basically whatever he wants, which is all the more impressive because his films tend to be very slow-paced, dark, light on action, aimed at adult audiences, ''and'' requiring heavy budgets (i.e. the kinds of movies that [[AudienceAlienatingPremise make marketing teams cry.]]) The proof? Even after ''Film/BladeRunner2049'' bombed at the box office [[AcclaimedFlop despite being a critical darling]], Villeneuve was immediately handed the reins to ''two'' more mega-budget sci-fi cult franchise movies aimed at an adult audience, including the ''Film/{{Dune|2021}}'' duology.
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* Creator/DenisVilleneuve, certainly has this for the time being. Not all of his movies have done well, but his so-far-unbroken streak of critically-acclaimed films (his '''worst'''-reviewed film, ''Enemy'', still has a 73% approval rating on Rotten Tomatoes) has impressed the critics enough for studios to let him tackle basically whatever he wants, which is all the more impressive because his films tend to be very slow-paced, dark, light on action, aimed at adult audiences, ''and'' requiring heavy budgets (i.e. the kinds of movies that [[AudienceAlienatingPremise make marketing teams cry.]]) The proof? Even after ''Film/BladeRunner2049'' bombed at the box office [[AcclaimedFlop despite being a critical darling]], Villeneuve was immediately handed the reins to ''two'' more mega-budget sci-fi cult franchise movies aimed at an adult audience, including the ''Film/{{Dune|2021}}'' duology.and ''Film/DunePartTwo''.
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* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery and Creator/DCStudios. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her her ''Franchise/StarWars Rogue Squadron'' project as well.
to:
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery and Creator/DCStudios. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her her ''Franchise/StarWars ''[[Franchise/StarWars Rogue Squadron'' project Squadron]]'' and ''Cleopatra'' projects as well.
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Split tropes per Wick Cleaning Projects
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** It's often assumed that ExecutiveMeddling is to blame for the existence of ''WesternAnimation/{{Cars 2}}'', being a horribly-received sequel to Pixar's then-most-lukewarmly received film that nevertheless rakes in billions in merchandise. Not quite -- John Lasseter can't be forced to make a film by the executives at Disney because from shortly after the release of the first ''WesternAnimation/{{Cars}}'' film until 2017, John Lasseter ''was'' the executives at Disney (specifically, he was in charge of ''all'' Disney feature animation). The ''Cars'' universe was simply his pet project, and Disney had no reason to object to him using his auteur license to produce more ''Cars'' films at Pixar and ''Planes'' films at [=DisneyToon=] Studios when he packed them full of more marketable vehicle characters than your average ''Franchise/{{Transformers}}'' generation.
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** It's often assumed that ExecutiveMeddling is to blame for the existence of ''WesternAnimation/{{Cars 2}}'', being a horribly-received sequel to Pixar's then-most-lukewarmly received film that nevertheless rakes in billions in merchandise. Not quite -- John Lasseter can't be forced to make a film by the executives at Disney because from shortly after the release of the first ''WesternAnimation/{{Cars}}'' ''WesternAnimation/Cars1'' film until 2017, John Lasseter ''was'' the executives at Disney (specifically, he was in charge of ''all'' Disney feature animation). The ''Cars'' universe was simply his pet project, and Disney had no reason to object to him using his auteur license to produce more ''Cars'' films at Pixar and ''Planes'' films at [=DisneyToon=] Studios when he packed them full of more marketable vehicle characters than your average ''Franchise/{{Transformers}}'' generation.
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** For ''Film/{{Tenet}}'', WB gave him his biggest budget, ever, at [[SequelEscalation $235 million]], and creative freedom. The film is a completely original intellectual property and its three top-billed stars (Creator/JohnDavidWashington, Creator/RobertPattinson, Creator/ElizabethDebicki) 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 (''Literature/{{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 ''Film/TheGreatGatsby2013'' and ''Film/GuardiansOfTheGalaxyVol2'' 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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** For ''Film/{{Tenet}}'', WB gave him his biggest budget, ever, at [[SequelEscalation $235 million]], and creative freedom. The film is a completely original intellectual property and its three top-billed stars (Creator/JohnDavidWashington, Creator/RobertPattinson, Creator/ElizabethDebicki) 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 (''Literature/{{Twilight}} (''Film/{{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 ''Film/TheGreatGatsby2013'' and ''Film/GuardiansOfTheGalaxyVol2'' 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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* Creator/DonMancini has been the lifeblood and sole writer/co-writer (as well as director of the later entries) of the ''Franchise/ChildsPlay'' franchise since its inception.
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** Creator/JonWatts ended up doing such a good job with ''Film/SpiderManHomecoming'' that he was entrusted to handle the entire MCU Spidey trilogy on his own and given responsibility to bring the ComicBook/FantasticFour back to the big screen (though he later backed out of that one).
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** Creator/JonWatts ended up doing such a good job with ''Film/SpiderManHomecoming'' that he was entrusted to handle the entire MCU Spidey trilogy on his own and given the responsibility to bring the ComicBook/FantasticFour back to the big screen (though he later backed out of that one).
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This is a statement that will age. Removing and merging because bad indentation as well.
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* Creator/HideoKojima had this for a good while, leading to the 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.
** After Konami got rid of Kojima proper, Sony quickly picked Kojima up and essentially handed him a blank check to make his new game, ''VideoGame/DeathStranding''.
** After Konami got rid of Kojima proper, Sony quickly picked Kojima up and essentially handed him a blank check to make his new game, ''VideoGame/DeathStranding''.
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* Creator/HideoKojima had this for a good while, leading to the 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.
**After Konami got rid of Kojima proper, Sony quickly picked Kojima up and essentially handed him a blank check to make his new game, ''VideoGame/DeathStranding''.
**
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[[folder:Comic Books]]
* ''ComicBook/XMenTheKrakoanAge'': Creator/JonathanHickman was given the full reins here to turn the ''X-Men'' around from an AudienceAlienatingEra and make them an A-list brand once again. First, he's considered the architect of the new status quo following ''[[ComicBook/XMen2019 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.
[[/folder]]
* ''ComicBook/XMenTheKrakoanAge'': Creator/JonathanHickman was given the full reins here to turn the ''X-Men'' around from an AudienceAlienatingEra and make them an A-list brand once again. First, he's considered the architect of the new status quo following ''[[ComicBook/XMen2019 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.
[[/folder]]
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*** ''Film/GuardiansOfTheGalaxy'', about an obscure, relatively new and unproven comic book team with such oddities as a talking space raccoon and a plant alien with PokemonSpeak. It ended up being one of Marvel's biggest hits and became a major franchise in its own right.
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*** ''Film/GuardiansOfTheGalaxy'', ''Film/GuardiansOfTheGalaxy2014'', about an obscure, relatively new and unproven comic book team with such oddities as a talking space raccoon and a plant alien with PokemonSpeak. It ended up being one of Marvel's biggest hits and became a major franchise in its own right.
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** After scoring and unexpected smash with ''Film/GuardiansOfTheGalaxy'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. 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 rein over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' which was followed by his being given near-complete creative control of ''Series/{{Peacemaker}}'' and eventually being appointed co-CEO of Creator/DCStudios.
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** After scoring and unexpected smash with ''Film/GuardiansOfTheGalaxy'', ''Film/GuardiansOfTheGalaxy2014'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. 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 rein over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' which was followed by his being given near-complete creative control of ''Series/{{Peacemaker}}'' and eventually being appointed co-CEO of Creator/DCStudios.
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* After the sleeper hit that was ''VideoGame/DemonsSouls'', director Hidetaka Miyazaki of Creator/FromSoftware has basically been given complete freedom to keep making his obtuse, unusual and challenging [[{{Action RPG}} Action RPG's]]. Given the enormous success of both ''VideoGame/DarkSouls'' and ''{{VideoGame/Bloodborne}}'', and the fact that he has since been promoted to president of From Software, his license is guaranteed for the foreseeable future.
* Creator/JohnRomero and his infamous ''VideoGame/{{Daikatana}}'' came about as a result of him earning one of these after his success with ''VideoGame/CommanderKeen'', ''VideoGame/Wolfenstein3D'', the first two ''VideoGame/{{Doom}}'' games, and ''[[VideoGame/QuakeI Quake]]''. After ''Daikatana'' flopped it was promptly revoked.
* Creator/JohnRomero and his infamous ''VideoGame/{{Daikatana}}'' came about as a result of him earning one of these after his success with ''VideoGame/CommanderKeen'', ''VideoGame/Wolfenstein3D'', the first two ''VideoGame/{{Doom}}'' games, and ''[[VideoGame/QuakeI Quake]]''. After ''Daikatana'' flopped it was promptly revoked.
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* After the sleeper hit that was ''VideoGame/DemonsSouls'', director Hidetaka Miyazaki of Creator/FromSoftware has basically been given complete freedom to keep making his obtuse, unusual and challenging [[{{Action RPG}} Action RPG's]].{{Action RPG}}s. Given the enormous success of both ''VideoGame/DarkSouls'' and ''{{VideoGame/Bloodborne}}'', and the fact that he has since been promoted to president of From Software, his license is guaranteed for the foreseeable future.
* Creator/JohnRomero and his infamous ''VideoGame/{{Daikatana}}'' came about as a result of him earning one of these after his success with ''VideoGame/CommanderKeen'', ''VideoGame/Wolfenstein3D'', the first two ''VideoGame/{{Doom}}'' games, and''[[VideoGame/QuakeI Quake]]''.''VideoGame/{{Quake|I}}''. After ''Daikatana'' flopped it was promptly revoked.
* Creator/JohnRomero and his infamous ''VideoGame/{{Daikatana}}'' came about as a result of him earning one of these after his success with ''VideoGame/CommanderKeen'', ''VideoGame/Wolfenstein3D'', the first two ''VideoGame/{{Doom}}'' games, and
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* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her her ''Franchise/StarWars Rogue Squadron'' project as well.
to:
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery.Creator/WarnerBrosDiscovery and Creator/DCStudios. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her her ''Franchise/StarWars Rogue Squadron'' project as well.
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* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of what became ''Film/TheRiseOfSkywalker'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'' and the hesitancy of Creator/{{Lucasfilm}} to greenlight more ''Star wars'', much uncertainty remains on whether or not he will get to make that trilogy. He's found success elsewhere with ''Film/KnivesOut'', the sequels of which, including ''Film/GlassOnion'', were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining full creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her a ''Star Wars Rogue Squadron'' project as well.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her a ''Star Wars Rogue Squadron'' project as well.
to:
* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of what became ''Film/TheRiseOfSkywalker'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'' and the hesitancy of Creator/{{Disney}} and/or Creator/{{Lucasfilm}} to greenlight more ''Star wars'', wars'' films, much uncertainty remains on whether or not he will get to make that trilogy. He's found success elsewhere with ''Film/KnivesOut'', the sequels of which, including ''Film/GlassOnion'', were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining full creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost hera ''Star Wars her ''Franchise/StarWars Rogue Squadron'' project as well.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her
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* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of ''Star Wars 9'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'', much uncertainty remains on whether or not he will get to make that trilogy. In the meantime he's found success elsewhere with ''Film/KnivesOut'', the sequels of which, including ''Film/GlassOnion'', were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining full creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things might change however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things might change however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery.
to:
* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of ''Star Wars 9'' what became ''Film/TheRiseOfSkywalker'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'', Jedi'' and the hesitancy of Creator/{{Lucasfilm}} to greenlight more ''Star wars'', much uncertainty remains on whether or not he will get to make that trilogy. In the meantime he's He's found success elsewhere with ''Film/KnivesOut'', the sequels of which, including ''Film/GlassOnion'', were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining full creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Thingsmight change changed since however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery.Creator/WarnerBrosDiscovery. She eventually confirmed she left the third ''Wonder Woman'' film project out of CreativeDifferences, and it might have cost her a ''Star Wars Rogue Squadron'' project as well.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things
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** After scoring and unexpected smash with ''Film/GuardiansOfTheGalaxy'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. 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 rein over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' which was followed by his being given near-complete creative control of ''Series/{{Peacemaker}}''.
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** After scoring and unexpected smash with ''Film/GuardiansOfTheGalaxy'', Creator/JamesGunn was allowed to do pretty much whatever he wanted with ''Film/GuardiansOfTheGalaxyVol2'' and also made an executive producer on ''Infinity War'' and ''Endgame'' so he could give input on the Infinity Saga's GrandFinale. 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 rein over at DC when he swung public opinion back toward favorable with ''Film/TheSuicideSquad'' which was followed by his being given near-complete creative control of ''Series/{{Peacemaker}}''.''Series/{{Peacemaker}}'' and eventually being appointed co-CEO of Creator/DCStudios.
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* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things might change considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery.
to:
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control. Things might change however considering how said sequel underperformed critically and financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery.
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* Creator/MichaelBay had become heavily associated and famous for his over the top action movies with huge explosions that [[invoked]][[CriticProof attract crowds no matter what critics think of them]]. He gained his Auteur License after ''Film/{{Armageddon}}'', and his visual style has been heavily copied in modern action films. After ''Film/TransformersTheLastKnight'' underperformed at the box office though, he has stuck to working with Creator/{{Netflix}}. He even made fun of his filmmaking style in [[https://www.youtube.com/watch?v=lXRCf9LbLM0 this]] Verizon commercial.
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* Creator/MichaelBay had become heavily associated and famous for his over the top action movies with huge explosions that [[invoked]][[CriticProof attract crowds no matter what critics think of them]]. He gained his Auteur License after ''Film/{{Armageddon}}'', ''Film/Armageddon1998'', and his visual style has been heavily copied in modern action films. After ''Film/TransformersTheLastKnight'' underperformed at the box office though, he has stuck to working with Creator/{{Netflix}}. He even made fun of his filmmaking style in [[https://www.youtube.com/watch?v=lXRCf9LbLM0 this]] Verizon commercial.
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* Thad Komorowski {{discusse|dTrope}}s and [[DeconstructedTrope criticises]] the concept in ''Literature/SickLittleMonkeys: The Unauthorized [[WesternAnimation/RenAndStimpy 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 FatalFlaw 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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* 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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}'', [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately the critical panning and lacklustre box office of ''Film/{{Glass}}'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}'', ''Film/{{Split}}'', [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately the critical panning and lacklustre box office of ''Film/{{Glass}}'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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Changed line(s) 45 (click to see context) from:
* 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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}''}, [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately the critical panning and lacklustre box office of ''Film/{{Glass}}'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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 was forced to make a film from an established franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of ''Film/TheVisit'' and the sleeper hit ''Film/{{Split}''}, ''Film/{{Split}'', [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately the critical panning and lacklustre box office of ''Film/{{Glass}}'' and ''Film/{{Old}}'' have sent it tumbling back down for now.
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Changed line(s) 45 (click to see context) from:
* 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]]. Following the critical success of Film/TheVisit and the sleeper hit Film/{{Split}}, [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately the critical panning and lacklustre box office of ‘’Film/Glass’’ and ‘’Film/Old’’ have sent it tumbling back down for now.
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 was forced to make films a film from an established franchises franchise instead of his own stories. That [[Film/TheLastAirbender hasn't worked out so well either]]. Following the critical success of Film/TheVisit ''Film/TheVisit'' and the sleeper hit Film/{{Split}}, ''Film/{{Split}''}, [[CareerResurrection it seemed his career was on the way back up]]. Unfortunately the critical panning and lacklustre box office of ‘’Film/Glass’’ ''Film/{{Glass}}'' and ‘’Film/Old’’ ''Film/{{Old}}'' have sent it tumbling back down for now.
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* After ''Pinball/TheAddamsFamily'' went on to become the best-selling pinball machine of all time, designer Creator/PatLawlor was given free rein on his next game. The result was the highly-rated ''Pinball/TheTwilightZone'', arguably the most complex pinball table ever, with more patent-pending features than any other game ever made. Although not a failure in sales, ''The Twilight Zone'' did not do so well with players, who considered it [[GuideDangIt too difficult to understand]].[[note]]It was VindicatedByHistory decades later when wealthy individuals bought the machines for their own personal use and could understand the rules on their own time.[[/note]] Lawlor's license was destroyed for the rest of the '90s and through the '00s, though he got it back when he was hired by Jersey Jack Pinball and, once again, given carte blanche privileges.
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* After ''Pinball/TheAddamsFamily'' went on to become the best-selling pinball machine of all time, designer Creator/PatLawlor was given free rein on his next game. The result was the highly-rated ''Pinball/TheTwilightZone'', ''Pinball/TwilightZone'', arguably the most complex pinball table ever, with more patent-pending features than any other game ever made. Although not a failure in sales, ''The Twilight Zone'' did not do so well with players, who considered it [[GuideDangIt too difficult to understand]].[[note]]It was VindicatedByHistory decades later when wealthy individuals bought the machines for their own personal use and could understand the rules on their own time.[[/note]] Lawlor's license was destroyed for the rest of the '90s and through the '00s, though he got it back when he was hired by Jersey Jack Pinball and, once again, given carte blanche privileges.
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** For ''Film/{{Tenet}}'', WB gave him his biggest budget, ever, at [[SequelEscalation $235 million]], and creative freedom. The film is a completely original intellectual property and its three top-billed stars (Creator/JohnDavidWashington, Creator/RobertPattinson, Creator/ElizabethDebicki) 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 (''Literature/{{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 ''Film/TheGreatGatsby2013'' (which didn't perform well) and ''Film/GuardiansOfTheGalaxyVol2'' 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.
** After he fell out with Creator/WarnerBros over their plans to release their entire 2021 slate in theatres and on Creator/HBOMax simultaneously, Nolan shopped his next film, ''Oppenheimer'', around to various other studios (Creator/{{Universal}} eventually picked it up), who had to agree to a list of conditions in order to acquire it: a $100 million production budget plus equal marketing spend, total creative control, a 100-day exclusive theatrical window, 20% of first-dollar gross, and a blackout period where the studio would not release any films for three weeks before ''or'' after its release.
* Creator/DenisVilleneuve, certainly has this for the time being. Not all of his movies have done well, but his so-far-unbroken streak of critically-acclaimed films (his '''worst'''-reviewed film, ''Enemy'', still has a 73% approval rating on Rotten Tomatoes) has impressed the critics enough for studios to let him tackle basically whatever he wants, which is all the more impressive because his films tend to be very slow-paced, dark, light on action, aimed at adult audiences, ''and'' requiring heavy budgets (i.e. the kinds of movies that [[AudienceAlienatingPremise make marketing teams cry.]]) The proof? Even after ''Film/BladeRunner2049'' bombed at the box office [[AcclaimedFlop despite being a critical darling]], Villeneuve was immediately handed the reins to ''two'' more mega-budget sci-fi cult franchise movies aimed at an adult audience, including ''Film/{{Dune|2021}}'' and its potential sequels.
** After he fell out with Creator/WarnerBros over their plans to release their entire 2021 slate in theatres and on Creator/HBOMax simultaneously, Nolan shopped his next film, ''Oppenheimer'', around to various other studios (Creator/{{Universal}} eventually picked it up), who had to agree to a list of conditions in order to acquire it: a $100 million production budget plus equal marketing spend, total creative control, a 100-day exclusive theatrical window, 20% of first-dollar gross, and a blackout period where the studio would not release any films for three weeks before ''or'' after its release.
* Creator/DenisVilleneuve, certainly has this for the time being. Not all of his movies have done well, but his so-far-unbroken streak of critically-acclaimed films (his '''worst'''-reviewed film, ''Enemy'', still has a 73% approval rating on Rotten Tomatoes) has impressed the critics enough for studios to let him tackle basically whatever he wants, which is all the more impressive because his films tend to be very slow-paced, dark, light on action, aimed at adult audiences, ''and'' requiring heavy budgets (i.e. the kinds of movies that [[AudienceAlienatingPremise make marketing teams cry.]]) The proof? Even after ''Film/BladeRunner2049'' bombed at the box office [[AcclaimedFlop despite being a critical darling]], Villeneuve was immediately handed the reins to ''two'' more mega-budget sci-fi cult franchise movies aimed at an adult audience, including ''Film/{{Dune|2021}}'' and its potential sequels.
to:
** For ''Film/{{Tenet}}'', WB gave him his biggest budget, ever, at [[SequelEscalation $235 million]], and creative freedom. The film is a completely original intellectual property and its three top-billed stars (Creator/JohnDavidWashington, Creator/RobertPattinson, Creator/ElizabethDebicki) 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 (''Literature/{{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 ''Film/TheGreatGatsby2013'' (which didn't perform well) and ''Film/GuardiansOfTheGalaxyVol2'' 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.
** After he fell out with Creator/WarnerBros over their plans to release their entire 2021 slate in theatres and on Creator/HBOMaxsimultaneously, simultaneously and after ''Tenet'' bombed (due to pandemic theater closures), Nolan shopped his next film, ''Oppenheimer'', ''Film/{{Oppenheimer}}'', around to various other studios (Creator/{{Universal}} eventually picked it up), studios, who had to agree to a list of conditions in order to acquire it: a $100 million production budget plus equal marketing spend, total creative control, a 100-day exclusive theatrical window, 20% of first-dollar gross, and a blackout period where the studio would not release any films for three weeks before ''or'' after its release.
release. Creator/{{Universal}} eventually picked it up.
* Creator/DenisVilleneuve, certainly has this for the time being. Not all of his movies have done well, but his so-far-unbroken streak of critically-acclaimed films (his '''worst'''-reviewed film, ''Enemy'', still has a 73% approval rating on Rotten Tomatoes) has impressed the critics enough for studios to let him tackle basically whatever he wants, which is all the more impressive because his films tend to be very slow-paced, dark, light on action, aimed at adult audiences, ''and'' requiring heavy budgets (i.e. the kinds of movies that [[AudienceAlienatingPremise make marketing teams cry.]]) The proof? Even after ''Film/BladeRunner2049'' bombed at the box office [[AcclaimedFlop despite being a critical darling]], Villeneuve was immediately handed the reins to ''two'' more mega-budget sci-fi cult franchise movies aimed at an adult audience, including the ''Film/{{Dune|2021}}''and its potential sequels.duology.
** After he fell out with Creator/WarnerBros over their plans to release their entire 2021 slate in theatres and on Creator/HBOMax
* Creator/DenisVilleneuve, certainly has this for the time being. Not all of his movies have done well, but his so-far-unbroken streak of critically-acclaimed films (his '''worst'''-reviewed film, ''Enemy'', still has a 73% approval rating on Rotten Tomatoes) has impressed the critics enough for studios to let him tackle basically whatever he wants, which is all the more impressive because his films tend to be very slow-paced, dark, light on action, aimed at adult audiences, ''and'' requiring heavy budgets (i.e. the kinds of movies that [[AudienceAlienatingPremise make marketing teams cry.]]) The proof? Even after ''Film/BladeRunner2049'' bombed at the box office [[AcclaimedFlop despite being a critical darling]], Villeneuve was immediately handed the reins to ''two'' more mega-budget sci-fi cult franchise movies aimed at an adult audience, including the ''Film/{{Dune|2021}}''
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* Creator/MichaelBay has become heavily associated and famous for his over the top action movies with huge explosions. He gained his Auteur License after ''Film/{{Armageddon}}'' and his visual style has been heavily copied in modern action films. He even made fun of his filmmaking style in [[https://www.youtube.com/watch?v=lXRCf9LbLM0 this]] Verizon commercial.
to:
* Creator/MichaelBay has had become heavily associated and famous for his over the top action movies with huge explosions. explosions that [[invoked]][[CriticProof attract crowds no matter what critics think of them]]. He gained his Auteur License after ''Film/{{Armageddon}}'' ''Film/{{Armageddon}}'', and his visual style has been heavily copied in modern action films.films. After ''Film/TransformersTheLastKnight'' underperformed at the box office though, he has stuck to working with Creator/{{Netflix}}. He even made fun of his filmmaking style in [[https://www.youtube.com/watch?v=lXRCf9LbLM0 this]] Verizon commercial.
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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:
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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:an Auteur License:
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* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of ''Star Wars 9'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'', much uncertainty remains on whether or not he will get to make that trilogy. In the meantime he’s found success elsewhere with ''Film/KnivesOut'', the sequels of which were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control (though that might change considering how said sequel underperformed critically and financially).
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative control (though that might change considering how said sequel underperformed critically and financially).
to:
* Creator/RianJohnson was given full control of his own ''Franchise/StarWars'' trilogy after Disney was impressed with his work on ''Film/TheLastJedi''. Apparently the only restriction is that it can't be about the major characters of the main series, which stands out all the more with the original directors of ''Star Wars 9'' and ''Film/{{Solo}}'' getting fired for refusing to follow studio orders just a few months earlier. Though in light of the ''massive'' BrokenBase caused by ''The Last Jedi'', much uncertainty remains on whether or not he will get to make that trilogy. In the meantime he’s he's found success elsewhere with ''Film/KnivesOut'', the sequels of which which, including ''Film/GlassOnion'', were purchased by Creator/{{Netflix}} for ''$469 million'', with Johnson retaining full creative control.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creativecontrol (though that control. Things might change considering how said sequel underperformed critically and financially).financially, especially in light of the massive changes, future IP plans and cost cuts brought by the creation of Creator/WarnerBrosDiscovery.
* Creator/PattyJenkins earned her license after the breakout success of ''Film/{{Wonder Woman|2017}}'', which became the most critically acclaimed and most profitable film in the ''Franchise/DCExtendedUniverse''. Not only did Warner Bros. signed her up for [[Film/WonderWoman1984 the sequel]] (a rare feat for female directors), but also ''tripled'' her directing salary and gave her screenwriting duties for further creative
