This is a static copy of In the Rose Garden, which existed as the center of the western Utena fandom for years. Enjoy. :)

#1 | Back to Top10-26-2012 04:58:13 AM

Decrescent Daytripper
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Registered: 04-09-2007
Posts: 2791

Auteur Status

I'm watching an Abel Ferrara flick, and if I didn't know, I wouldn't guess, because he's not an auteur, he's a "stager" (or "scene-setter"), as they say in the film crit biz. Not that Ferrara's perfunctory about his direction; he's a formalist director and shapes everything to reflect the whole, and each film he does feels and looks remarkably different from others.

Robert Wise may have been the ultimate stager, with no two films alike, no personal flourishes so much as for-the-piece flourishes and dressing. (Or, maybe it's George P. Cosmatos, who never, apparently, really directed much; he was just a beard for the starring actor who union rules prevented from directing.) Spielberg is clearly an auteur; it's him and always him. So, why is Spielberg at his best when he's not being Spielbergian? Why are the continuing motifs and traits the weakest moments of his ouvre? It's easy to get a feel for what talent will change a role or work to their strengths, when adapting or reworking, but what of those who don't? Who keep the difference, the challenge?

You see it in actors, too, which is why a John Wayne movie is a John Wayne movie. He was an auteur by presence. Arnie and Stallone are auteurs by presence. Whereas someone like Michael Parks or John Hurt blends in, performs like a player and not a (re-)composer. Others pin screenwriters as the primary author, or producers. A Jacques Tournier picture, or a Robert Evans. Body Snatchers is more obviously a Larry Cohen and Brian Yuzna movie than it is an Abel Ferrara picture. Empire Strikes Back is all Lucas, even though it's actually mostly Leigh Brackett and Irvin Kershner.

John Carpenter has said he enjoys doing remakes and enjoys seeing them, the same way there's a thrill in a professional cover of a good song, especially if it's done well. Carpenter also said he likes a name to preface a movie, an author, not because they solely are responsible, but because someone has to take the blame, to accept the criticism if and when it comes. Ultimately, everyone contributed, but someone in charge permitted this thing to happen, to be released as it is, and he'd rather be the fall guy than blame the cinematographer or an actor. The same way nobody blames the editor, typesetter, publisher, publicist, assistants on a novel, they blame the author with the byline and that's all it means.

So, does auteur-ness mean much to you? Does it mean anything? Is it just helpful for seeking out something you know will feel familiar? As a mark of quality? For who to avoid?


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#2 | Back to Top10-29-2012 12:59:59 AM

satyreyes
no, definitely no cons
From: New Orleans, Louisiana
Registered: 10-16-2006
Posts: 10328
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Re: Auteur Status

I'm not up on my classics, but I sure as shit know my nerd culture.  I know when I'm hearing a Joss Whedon dialogue or reading a Neil Gaiman story or taking in a Tim Burton flick; these are auteurs.  It's harder to think of what you call "stagers," since by definition they vanish into the larger body of the work, like a casino dealer or maybe a defensive lineman, forgettable vessels for fulfilling a memorable purpose.  Maybe a good example of a stager among actors would be Russell Crowe.  If you tell me a new movie has Jim Carrey in it, I already know what the movie is like; if you tell me Russell Crowe is in it, I have no idea.  John Nash is not much like Maximus.  If Crowe were wearing a mask you wouldn't guess it's the same guy.  He vanishes into the character.

As an aside, I think I would have enjoyed both Gladiator and A Beautiful Mind better if Russell Crowe had been wearing a V mask throughout the performances.

For me, I guess an auteur is a brand.  I haven't seen Cabin in the Woods or read any reviews of it, but it's by Joss Whedon, so I confidently expect that it will be subversive; that it will have really funny dialogue; that it will take camp, angst, or both to hilariously unnecessary levels; that its female characters will be well-written by the standards of the genre; and so on.  I usually enjoy Whedon-brand media, so I'm likely to see Cabin in the Woods.  But I also know that the movie is unlikely to really surprise me, because I have Joss Whedon pretty well pegged.  Unless he chose that movie to pull a Picasso and enter a different era of his career, it's not going to blow my mind.

The auteur brand has a subtler effect, too, just like supermarket brands: my experience of the media is colored by the brand.  I saw and liked Edward Scissorhands By Tim Burton and The Nightmare Before Christmas By Tim Burton.  Then I saw Big Fish By Tim Burton, and I liked it, but I'm not sure I would have liked Big Fish By Anonymous McGee.  Knowing it was a Tim Burton movie made it a better movie, just like knowing that Coke is Coke makes it better than generic cola.  But there must be a limit, because I hated Planet of the Apes and I hated Charlie and the Chocolate Factory, and after that I didn't even bother to see Sweeney Todd, because it was a Tim Burton movie.  (Also a Johnny Depp movie, which carried similar brand baggage.)  To complete the circle, I speculate that I would probably enjoy Sweeney Todd By Anonymous McGee more than Sweeney Todd By Tim Burton With Johnny Depp.  Chicken McNuggets actually taste okay if you don't know that they're Chicken McNuggets.

As a further aside, I think I would also have enjoyed Charlie and the Chocolate Factory better if Johnny Depp had been wearing a V mask throughout it.  Thought exercise: is there any movie that would not be improved by putting the main character in a V mask?

And I'm out.

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#3 | Back to Top10-29-2012 12:33:05 PM

Decrescent Daytripper
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Registered: 04-09-2007
Posts: 2791

Re: Auteur Status

Thinking of Burton, when did he basically stop crediting everyone else working on a movie, to just focus on himself and maybe Depp?

Back when Nightmare happened, he was clear and open about not directing it, not writing it. Same with Edward Scissorhands (which was, like Nightmare, written by Caroline Thompson). He'd go on a talk show or something, and he'd credit people left and right.

At some point, either by his choice or by whomever cuts and releases the interviews, all that changed. And we're just sold the auteur Burton, the brand Burton.


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