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The auteur theory of the cinema, first described in the 1950s by François Truffaut, states that a great movie represents the artistic vision of one person, usually the director. Moviemaking may involve collaboration, but it cannot be done successfully by a committee. There has to be a single individual in charge, one whose sensitivity and world view is reflected in the movie. In the same sense that the author of a novel is telling a story through the medium of print, the director of a movie is telling a story through the medium of film.
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"My car is supercharged, not turbocharged, so you see there's no throttle lag," explained Yves-Bernard André as he reversed at what seemed like 80mph up a narrow cobbled Paris street. "D'accord," I mumbled, afraid to loosen the white-knuckled grip I had on the passenger grab handles. Yves-Bernard's car may have been pointing the right way down the one-way street, but it was not actually traveling in that direction. Okay, so it was 2am and the good residents of the Dix-septième Arrondissement were busy stacking Zs (en français, "emplier les ronflements"). But I still didn't think we would've been able to explain the logic of the situation to the gendarmes (les flics, en français).
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Without passion man is a mere latent force and possibility, like the flint which awaits the shock of the iron before it can give forth its spark.—Henri-Frédéric Amiel