When exploring authorship in the context of cinema, there is no getting around the auteur theory.

The auteur theory came out of the ideas developed during the nouvelle-vague in France by the likes of Francois Truffaut: that the director can be seen as the major creative force and to some extent sole author of a movie. As Francois Truffaut wrote:  “There are no good and bad movies, only good and bad directors”.

In reflecting on these ideas as published in the French magazine Les Cahiers du Cinema, Andrew Sarris (an American film critic) even went so far as to suggest that “good directors make good movies, and bad directors make bad movies”.

Although in these discussions it is never denied that the rest of the film crew contributes substantially to the movie, it is asserted that it is still the result of a single dominant voice and vision.

An often used example of a modern auteur-director is Ridley Scott, and the example Blade Runner is often used to illustrate that. But it can be just as easily argued that much the world of Blade Runner was the result of individual input. I elaborate on this here.

I propose that a teamleader can have a distinctive voice without suppressing the voices of the team members.

As an example I look at the album Kind of Blue by Miles Davis which I write about here.