Directors, Writers, and Auteurs

Film is relatively new medium. It was silent until 1927, and black and white until 1939. As a result of only recently entering into its adolescence as a genre, it is possible to argue that it has only recently become possible for a filmmaker to be a true master of the the medium.

These  masters, who seek to exert creative control over as much of the filmmaking process as possible are called “Auteurs” the French word for “author.” The idea is that  some filmmakers have such involvement in the process, including writing, directing, producing, and even perhaps editing or designing sets, that they are the ultimate cause for the final effect of the film.

Autuer theory has its roots in early french film criticism, mostly surrounding the work of an early film pioneer named, Jean Renoir. His film Le Grande Illusion, was the first foreign language film to be nominated for an Academy Award for Best Picture. In the wake of Renoir, other virtuoso filmmakers began to be referred to as Auteurs, including Akira Kurosawa, Ingmar Bergman, and Alfred Hitchcock. As the technology of filmmaking developed, the stories and images of films became more ambitious. Filmmakers like Stanley Kubrick, Francis Ford Coppola, and Woody Allen began to develop the medium.

By the 2000’s there were literally dozens of filmmakers who were considered to have a distinct enough voice, or trade mark look, to be referred to as “Autuer.” Among them were many of the most popular directors of today: Quentin Tarantino, Martin Scorsese, David Lynch, Terry Gilliam, The Coen Brothers, Wes Anderson, Harmony Korine Clint Eastwood, and countless others.

However, while many critics use the term autuer as a form of praise, it is usually reserved for the director. In fact in the French criticism community in which it came to prominence, some critics even argued that the director was without question the single most important member of a production team, surpassing the rest of the crew and even the screenwriter. So the question has remained, can a screenwriter be an autuer? In some cases like P.T. Anderson, Tarantino, and Woody Allen, the screenwriter and the directory are one and the same. It is much more difficult to point to a screenwriter who does not direct that has a sufficiently distinct voice to be recognizable regardless of production, or studio interference. So the question remains, can a screenwriter be an Auteur?

These films were all written by their director as well. 

The Godfather – Francis Ford Coppola

The Life Aquatic with Steve Zissou – Wes Anderson

Mulholland Drive – David Lynch

The Dictator – Charlie Chaplain

La Grande Illusion – Jean Renoir

2001: A Space Odyssey – Stanley Kubrick

Annie Hall – Woody Allen

Pulp Fiction – Quentin Tarantino

Punch Drunk Love – Paul Thomas Anderson

Annie Hall

Year:1977
Director:Woody Allen
Written by:Woody Allen (Screenplay), Marshall Brickman (Screenplay)

Script Synopsis:The neurotic New Yorker Woody Allen tells one of the greatest romantic comedies to be set in the city of New York.
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Top 10 Film Scripts in American History

In the film industry, there are three types of films: the good, the bad, and the great. Differentiating between the good and the bad is usually easy. On the rare case, a film may just be too advanced or artistic for its time. But not all movies are artistic masterpieces; there are some films that are just plain bad.

Problems occur in films when there is lack of responsibility and determination. Writers must be passionate about their work in order to create a story that attracts an audience. Directors must be efficient leaders with an attention to detail. The crew must be able to communicate with each other to reach a common goal. If a person slacks in their role, the result shows in the final film product.

So in reality, a bad movie is just a disorganized film while a good movie is an organized one. But what is the difference between a good movie and a great movie? Great films often are a result of many different factors. They usually have professional, experienced writers or a masterful director. They often are big budget films that attract crowds of technology junkies. They have romance for the romantic viewers and action for the viewers who love violence. All in all, they are a little bit of everything.

The following list consists of the top 10 film scripts in the history of American cinema. These film scripts have a little bit of everything and were written by some of the most professional writers of their time periods. By reading these, you are getting a closer look at some of the most successful script writers of America’s history. You will get a feel of what the public wants and what styles are effective in getting their attention.

  1. (1942) Casablanca Script
  2. (1972) The Godfather Part 1 Script
  3. (1974) Chinatown Script
  4. (1941) Citizen Kane Script
  5. (1950) All About Eve Script
  6. (1977) Annie Hall Script
  7. (1950) Sunset Boulevard Script
  8. (1976) Network Script
  9. (1959) Some Like It Hot Script
  10. (1974) The Godfather 2 Script

Woody Allen Scripts

Let me know if you find any other links to scripts or transcripts: