"The problem with auteurism is that it presupposes that one person can impress upon 95 people, so clearly, that the manifestation of whatever it is going on in your head can be clearly attributed to them. The reality of moviemaking is, y’know, it’s a rat fuck. Every day is a skirmish, and you might escape every skirmish, but there are injuries and there losses, and there are things that you had 10 meetings about that go off perfectly, and there are things that you’ve had no meetings about that ended up taking eight of the 12 hours in the day because you didn’t think it was going to be so complicated.
So the notion that someone calls this perfect, idealised version of the scene… It’s like the jet-propulsion industry, the idea that something is wind-tunnel tested and is gonna go off the way it’s supposed to – it never goes off the way it’s supposed to. My issue with auteurism is, how do you attribute a master plan to a happy accident? There are certain things that you can count on. You have to work at it, and you have to know what it is you’re trying to do and impart that to an army of people who all have their own ideas about what’s important.
Everybody who comes on to a set looks at it from a slightly different standpoint. You can’t say to the third violinist, ‘This is what the totality of the thing should sound like.’ You just need them to get them to do their thing. When you hear it, it either moves you or it doesn’t, so you have to figure if it needs a little bit more of this or that. That’s happening in the rehearsal, it’s happening in the coverage throughout the day. You hone in as you get tighter and tighter and tighter on people, but you’re also getting tighter in terms of time. You’re honing in on one little thing, and then you do the same again in the edit, with the sound effects, with the music, with the colour grading. Suddenly all this stuff comes together, and the notion that anyone could say, ‘This is precisely what it’s going to look like,’ to me is amazing." (David Fincher)
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