Show MoreThe Auteur Theory It compares the film director to the author of a book, it attributes artistic control to the director and proposes that the film is the artistic project of the director primarily. His or her vision, creativity, and design determine the end result, the finished film. Basically, it means that if the director is an auteur, the film will be completely their ideas and visions and they have complete control of it. I believe Danny Boyle uses this control to make his films.
Danny Boyle was born in Manchester in 1956. He started a career in theatre at the age of 18 and by the time he left the…show more content…
He, John Hodge and producer Andrew MacDonald all wanted the film to be a partnership of 3 performers. They didn't approach one major star because they thought the audiences would all be concentrating on that one person. To prepare for the film, Boyle lived in a flat for a week with the three actors.
CLIP OF SHALLOW GRAVE
Trainspotting, released in 1996, was the second film from the team of Danny Boyle, Andrew MacDonald and John Hodge. The screenplay was adapted from the Irvine Welsh novel of the same name. John Hodge took some persuading to make the film - he described the novel as having "no story" and Welsh's prose as "dialogue-driven". Again, it took 30 days to shoot. The film cost £1.6 million, financed by Channel 4 who was able to pre-sell it on the back of the success of Shallow Grave. The film went on to take £13 million worldwide and is the second highest grossing British film of all time - after Four Weddings and a Funeral. Danny Boyle thoroughly researched heroin addiction for the film - he met a lot of addicts and got them to talk to the actors and held "cookery classes" where the actors learnt how to cook up. Ewan McGregor also read all the books he could find on the subject. Ewan McGregor was the only advance casting the team made - all the other actors had to audition. Robert Carlyle expects to play the lead in a film but he accepted
There will come a time when being an auteur filmmaker will be the norm, rather than the exception. But let’s pause for a second on that word “auteur.” Have you ever heard that word used and wondered what it meant? Or, more likely, have you ever thought about a director who had carved out his or her own particular style, which you noticed from film to film, and thought there must be a term for directors like that? This roughly-fifteen-minute video essay from Filmmaker IQ gives a resoundingly clear answer to the question “what is an auteur,” which should clear up any confusion on the matter. It also offers up a concise history of the term, which is rooted in French film history. The piece looks at the more conservative films being made in France before World War II, the transformations effected by Francois Truffaut and such critic-director colleagues as Jean-Luc Godard, who embraced and examined director Jean Renoir’s term auteur to support an elevation of the filmmaker-as-artist, and the fierce debate between American critics Andrew Sarris and Pauline Kael over the significance and relevance of the term itself. This piece is a great watch for anyone hoping to bolster their knowledge of film history or, as the case may be, resolve once and for all what the heck an “auteur” is.