Robin spoke about the necessity to do things in a timely manner. That needs to carry over on set. So how do you go about setting up something complex like a focus pull? Surely that’s up to the DOP and camera assist to setup whilst the Director speaks to the actors…What comes first? Is there a correct order? I’m in two minds about how I would like to go about such a thing if I was to coordinate such a thing, or be in the shoes of a director I find myself wondering if I am capable of being a director? What are the traits one must possess to fill such a role? Even asking that question I feel crosses me off the list. But what about directing and filmmaking? The critics from the Cahiers wanted to make films, Godard seems to refer to himself as a filmmaker, and talks about the process of filmmaking – not only directing. I guess the larger question I’m posing is can one still act as an auteur, but not be a director?

Can I find examples of this?  

If I was to make (nee write) a film, and have an overall vision, I would test the possibility of having someone else direct it. Instead I would produce, and at the same time be closely involved in the planning, reccies, storyboarding, casting and rehearsals. My grounding and my strengths right now lie in building teams and planning projects, so I would apply this methodology to filmmaking. I would work hard with heads of departments to see my project realized, whilst at the same time (and maybe this sounds a little ridiculous), maintaining a large degree of control overseeing the implementation of the production process.

This is a different approach to what I have read about directors with strong stylistic visions. It is pragmatic. Maybe it leaves little room for art or experimentation. I guess I would hope that I could create a network of individuals with skill groups across the different aspects. People I feel capable of communicating my vision to and people with whom I think my vision could align.