Top 10 collaborations between director and writer in the history of cinema; From worst to best

Everyone knows that to make a movie, you need a script first. But what path does a screenplay take to become a movie? Why do some directors make some screenplays better and fail to convert other writing into visual language? What is the relationship between the director and the screenwriter? Does a director have to communicate with the author of the work to make a good film or is it enough to take the writing and read it without having to communicate with the creator? In this list, we have looked at 10 brilliant collaborations between the writer and the director so that we might find an answer to the above questions. Top 10 collaborations between director and writer in the history of cinema; From worst to best

Everyone knows that to make a movie, you need a script first. But what path does a screenplay take to become a movie? Why do some directors make some screenplays better and fail to convert other writing into visual language? What is the relationship between the director and the screenwriter? Does a director have to communicate with the author of the work to make a good film or is it enough to take the writing and read it without having to communicate with the creator? In this list, we have looked at 10 brilliant collaborations between the writer and the director so that we might find an answer to the above questions.

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Of course, there is no definitive answer. Everything comes back to the spirit of the creators. Some directors only work on scripts that they have written themselves; A director like Quentin Tarantino is such a person. Or a filmmaker like Jean-Luc Godard never believed in the script in its classical sense and only remembers a plan of what he wanted to create. Therefore, the issue that there must be a relationship between the director and the writer is not always true.

During the classical cinema era, the writers' department was generally separate and they sat in rooms filled with cigarette smoke and the secretaries had to That steamed air that smelled of old age and cigarette smoke, quickly typed the stories of the writers. The sound of the typewriter was loud and the result was sometimes boring, sometimes average and sometimes stunning. The directors had less relationship with the writers and let them do their work except to mention some points. This was an ideal world for everyone, and few people would interfere in other's work, and in the end, salaries would be paid and everyone would go home happy. Until another work and the next film.

But at the same time, there were influential directors who were constantly messing with the writers. Or there were directors who themselves had a hand in writing and joined the team of writers. In such a situation, both people were forced to reach a mutual understanding and come out of another mental space; Especially the author should have done so and accompanied the director. If this happened, the result was generally brilliant, but if this relationship was not formed, a miracle would be needed to save the film, and the director and the writer would separate after that unfortunate experience and never work together again. .

With the changing conditions of filmmaking and the disappearance of those dream factories, now writers and directors met more than before. They spent day and night together to create a perfect writing. If a director believed in artistic perfection, he would always collaborate with a screenwriter who thought like him and could think like himself. Of course, these close collaborations were formed only by perfectionists; Otherwise, there will still be those who leave the writing to others and only turn it into a picture. It came from the work of others and led to the creation of better works than them; Works that are still lasting and can be watched. Sometimes these relationships were so close that they turned into deep friendships and sometimes they remained at the level of work relationships. In any case, less relationships like the relationship between the director and the writer have the ability to create tension and conflict, and can reach a deep understanding that causes an unbreakable bond; After all, both parties show their hidden selves, and this may cause trouble as well as create a foundation for friendship. is.

10. Brett Kennedy - Bud Boetticher (1956 to 1960) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Remarkable films: Seven Men from Now (1956), The Tall T (1957) and Ride Lonesome (1959)

Brett Kennedy finally became the director himself. And he stopped writing for others, but in the 1950s he started writing with Bud Boetticher and was especially good at writing western stories. Bud Boetticher and Brett Kennedy had the opportunity to go crazy and do whatever they wanted while writing and making their movies, because there were no budgets, and the 1950s was a time when you could find a little money, made a western movie; In fact, making a western movie was the cheapest way to make a movie.

Although they told the story of the revolver of the wild west, they delved into various issues that were not usually expressed in a western movie before. In the joint works of Bud Boetticher and Brett Kennedy, concepts such as male relationships, sexual desires, morality, and salvation can be seen. The men in their cinema were lonely men and did not trust anyone, and if someone accompanied them, they would be suspected of being the hero of the drama until the end of the story.

Another recurring theme in their works was the violence committed by the hero of the drama. Unlike the older Western movies, where the Western was the epitome of all good and positive morals and established order, these men could enforce their morals and resort to violence. Considering the time when the films were made, this issue seems obvious. American cinema was embracing new concepts with open arms, and Western cinema was shedding its skin for this reason. But these two men took a step forward in showing these new concepts to introduce a new design.

Another issue that separates these two from their western counterparts is the spirit of frankness. During the Cold War and the fear of a nuclear world war, they had something to say and they said it recklessly. For this reason, their works were less than 80 minutes; Stories were told, words were spoken and that was it. There is no room left for talking and stretching the story.

Randolph Scott plays the main role in all their films. Bud Boetticher and Randolph Scott's long-term partnership is one of the most successful director-actor collaborations in film history. Now expand this two-person collaboration to a three-person relationship by adding an author; The result will be part of the unforgettable history of western cinema.

9. Paul Schrader - Martin Scorsese (1976 to 1999) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Indicative films: Taxi driver (taxi driver 1976), raging bull (1980) and the last temptation of Christ (1988)

If you are going to ask a movie lover If he mentions a successful relationship between director and writer, he will most likely mention the relationship between Paul Schrader and Martin Scorsese. Paul Schrader is a great director himself and that's why he knows the language of the image, but he is one of the best people who knows the depth of the wounds of the men and women wandering on the street corner, confused and in trouble. He takes this completely objective world, makes it subjective in a personal way, and penetrates people who are suffering from an old wound, which is exactly what Scorsese needs to make a masterpiece.

The views of New York with those sidewalks full of dirt and garbage hanging in the air and those who constantly walk across the street and say bad things and suffer from the sadness that can be called the condition of modern human life, the field of ability of these two He is a great man in the history of cinema. Both Paul Schrader knows the hot asphalt floor of the street and wet sidewalks under the rain, and Scorsese has spent a lifetime understanding life in this geography. The result is as if these two were created for each other.

Another issue is the ability of these two to create characters who struggle to find a way to salvation. Both of them add religious elements to the concept of salvation and set the path of the hero of their drama in such a way that their chaotic interior, in dealing with a pus environment, becomes their biggest obstacle during the path to this salvation. Few people's personal worlds are so close, and few people feel the sadness of New York City sinking into an ever-increasing filth.

Robert De Niro has experienced his best roles in collaboration with these two men. "The Godfather 2" aside, we've never seen Robert De Niro look as good as when he's playing a role written by Paul Schrader and produced by Martin Scorsese.

Unfortunately, the day has come. that Paul Schrader decided not to work with Scorsese anymore. He once said: "Films that seemed to be the product of the work of a writer and director in the same room, have now become the work of two directors in the same room." Despite the fact that these two are still active in the world of cinema and make films, they have not worked together since 1999 and after the production of the film "Bringing out the dead".

8 . Tonino Guerra - Michelangelo Antonioni (1960 to 1995) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Indicative films: Adventure (L'Avventura 1960), Night (La Notte 1961) and Agrandisman (Blowup 1967)

Tonino Guerra is one of the most famous writers in the history of cinema. He has written more than a hundred screenplays and has a stunning career. His career includes working with greats such as Federico Fellini, Giuseppe Desantis, Andrei Tarkovsky, Theo Angelopoulos, Francesco Rosi, Elio Petri and even a more recent director such as Giuseppe Tornatore. Many modern directors wished to work with him and some achieved this wish, but his collaboration with Michelangelo Antonioni in most of his films was something else.

It seems that Antonioni could not work with another writer. It is true that most of the time these two worked together on the script, but Tonino Guerra was strangely able to adapt to the mental world of different people; A task that Antonioni is very successful in It wasn't.

The work list of these two together is really brilliant and shows a mutual recognition. Both Guerra and Antonioni were interested in concepts such as modern human life and human interiority. Antonioni, who was a symbol of modern cinema, and his stories were the stories of troubled men and women who lived in the turmoil of this new history. It is in such a framework that cooperation with a screenwriter who touches on such concepts in other works could be an exceptional opportunity. From the English-language works of this Italian director to the films he made in his native language. This same ability to work with different people from different nationalities made Tonino Guerra's name so famous in the world that directors from all over the world came to him. can be seen But these concerns are depicted in a mental framework and they become objectified. The characters are more important than the story, and there is no plot in its classic sense. Sometimes the characters keep staring somewhere and say things that create a special atmosphere full of nostalgia and sadness. On the other hand, sometimes an emotional relationship leads to a tragic event, and sometimes an incident is hidden from view so that their films distance themselves from other cinematographic works and break the habit.

Such a different collaboration definitely deserves be included in this list.

7. Charles Lederer - Howard Hawks (1940 to 1953) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Indicative films:

If we take a look at the career of these two men, we will realize that both of them were masters of creating a witty atmosphere in which there were both strong female characters and attractive men who were quick-tempered. They were talking to each other; It's like they don't have time and they might run out of time at any moment. This type of dialogue writing is perhaps the characteristic of these two working together more than anything else; Lederer wrote these fast-paced dialogues, and Hawkes transformed them into images with a suitable and fast rhythm.

In this context, the most important and successful collaboration between the two can be called the movie "His Versatile Secretary". What attracts attention the first time watching and dealing with "His All-Purpose Secretary" by Howard Hawks is the fast rhythm of the story and the speed of information transfer through dialogue, and sometimes the audience says to themselves how the actors of the film managed to speak such a fast dialogue. .

Howard Hawkes made an appointment with his actors that when each actor reached the last two or three words of the text of his dialogues, the other side would jump into his words so that the way of conversations would be closer to the real world around us. But since even to this day we are used to the actors not jumping into the conversation and waiting for the other party to say everything and then start speaking, this way of talking becomes fast and sometimes dizzying. All of this was certainly not possible without Charles Lederer's dialogue writing.

Howard Hawkes was one of those great directors who had the power to mess with his writers in the studio era and in classic cinema where he was a versatile producer. and supervise their work. This also made him always have great scripts.

Charles Lederer, who was a master of writing any script in any genre. This issue also helped Howard Hawks to move from screwball comedy to western cinema and from there to musical cinema. What else can a director expect from a writer in the era of classic cinema?

At the same time, the names of directors such as John Ford and Frank Nugent can be added to the list, but these two are less They interfered in the work and Nugent only wrote and Ford only made. This way of working is fundamentally different from the way Howard Hawks and Charles Lederer worked, who were constantly arguing with each other.

6. Kobe Abe - Hiroshi Tshigahara (1962 to 1968) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Indicative films: Trap (pitfall 1962), woman in the dunes (1964) and the face of another (the face of another)

Hiroshi Tshigahara was interested in comparing the real world with A mixed dream. Although in his films, it seems simple to recognize the border between these two worlds, but from one point on, fantasy takes the place of reality and rejects it completely. Such a different worldview definitely needs to be accompanied by colleagues who can understand the events in the filmmaker's mind. Fortunately, at that time, a novelist lived in Japan, who lived in such a strange world and created such works. . He himself had written a book called "Woman in the Flowing Sand", which was later turned into a spectacular film by Tshigahara. Interestingly, in addition to this different form of storytelling, these two great Japanese artists They had other things in common; Both of them were interested in existentialism and social awareness and everyday events were important to them.

Of course, Marxist tendencies could also be observed in their work, but their other point of commonality was intellectual concerns that brought them closer to each other. Been. Both Tshigahara and Kobe Abe considered themselves responsible for the people and the condition of Japan after World War II and showed this sadness in their works. "Psychic". The story of the film is similar to the legend of Sisyphus in ancient Greece, and the director draws a conclusion from it similar to what Albert Camus reached in a book of the same name from this story; A woman digs sand at the bottom of a pit every day, and if she doesn't do this, her life and the lives of her neighbors (although she says she has no neighbors) are at risk. In the meantime, a man becomes his companion and says a key sentence that is an abstract of the myth of Sisyphus: do you live to dig the sands of this pit or do you dig to be able to live? This key question is an eternal and eternal question that each of us will ask ourselves over and over again throughout our lives until finally death comes and takes us with us.

View of the creators in this film Regarding the issue of married life, it is not a combination of love or kindness, but a concept of slavery. A man is forced to live as a slave to a woman for a lifetime. This may make a lot of noise, but if you look closely, you will realize that everything in this film is symbolic and is not supposed to follow realistic patterns.

These two important Japanese artists are searching throughout their lives. They were a way to express such concepts and finally they succeeded in doing their work.

5. Cesare Zavattini - Vittorio de Sica (1944 to 1973) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Indicative films: Shoeshine (1946), The Bicycle Thieves (1948), Umberto D. (1952), Two Women (1960) and Sunflower (1970)

Cesare Zavatini was considered the master of neorealist writers. At that time in Italy it was common for a whole team to work on writing a screenplay, he had a lot of respect and closeness among the writers and everyone liked him. In any group of screenwriters he entered, he was at the top, and indeed he was credited with writing the important screenplays of that time. Cesare Zavattini had a dream after World War II and at the height of the neorealism movement, which was to reach the completely natural flow of life without any interference; A pure realism.

On the other hand, Vittorio de Sica is known as the symbol of the directors of this cinematic movement. With the films "Waxy", "Bicycle Thief" and "Umberto D", he helped this movement as much as he could, and this was not possible, except in collaboration with Cesare Zavattini. But slowly another era arrived. The destruction caused by the war, which was an excuse to make neorealist films, gave way to prosperity that did not have the pain and wounds of the war. So the world of cinema also changed. It was time for Italian filmmakers to tell the story of this new era. In such a situation, Zavattini distanced himself from his dream and slowly forgot about that cinematic ideal.

For him and de Sica, this new world was once again a time of trial. De Sica was making different films in which, unlike his previous works, they starred professional actors and stars like Sophia Loren, and they were not going to benefit from mere realism. So the stories changed one by one and gave way to jokes, laughter, love and romance. Both of them were successful in this era and left their names in the history of cinema.

But in any case, their most famous movie remained "Bicycle Thieves". In this film, Zavattini and De Sica have presented a powerful and emotional picture of the way Italian people live after World War II. When the economic crisis had increased so much pressure on people's throats that finding a way to escape from death and hunger was like a heroic struggle. They took full advantage of the elements to portray this massive battle for survival as realistically as they could.

The legacy of Vittorio De Sica and this film cannot be ignored. "Bicycle Thieves" has directly or indirectly influenced all films dealing with the life of the lower class, and this is not a small achievement for any director or writer.

4. Krzysztof Pisiewicz Krzysztof Kieslowski (1985 to 1993) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Indicative films: No End (1985), Ten Commandments series (dekalog 1989), Three Colors trilogy (three colors 1993, 1993, 1994)

Both Christophe worked on films in which one could see a philosophical, humanistic and highly stylized atmosphere. In their works, there was a special atmosphere that was rooted in their homeland, Poland, and tells stories. They did that there were human concerns behind them.

When Krzysztof Kieslowski met Pisiewicz, he himself was wandering among social works and made works that had a documentary aspect. Pisevich was also a lawyer at that time and did not spend much time in cinema. The acquaintance of these two changed their lives forever and caused Kieslowski to reach the peak of his work. Sorrows were embedded in his characters for the duration of human life, which he described and removed. Losing a loved one and mourning for him became an important theme in the films, and both artists explored the human life in these moments.

At the time of Kieslowski's death in 1996, both on They were working on a new trio, but the deadline did not allow this collaboration to be formed and a new gem added to the history of the seventh art. After the death of Kislowski, Pisiewicz entered politics, but his name was no longer in the limelight. The friendship of these two was unbreakable and remained even in the years of Kieslowski's migration to France. This remaining friendship led to the creation of the "Three Color Trilogy". It has three separate stories, but thematically they are connected like a chain. In the movie "Abi" we are faced with a woman who becomes seriously ill after the death of her husband and child in an accident and tries to cope with her grief. In the movie "White", a Polish immigrant in France is worried that his French wife will divorce him. And in the movie "Red", we see scattered stories of different people that are connected by chance.

3. Ennio Flaiano, Tullio Pinelli - Federico Fellini (1950 to 1990) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Films Index: The road (La strada 1954), Sweet life (La Dolce vita 1960), Eight and a half (8 1963) and Juliet of the spirits (1965)

When we look at Federico Fellini's artistic career, we come across a large number of co-authors with whom he worked throughout his life. Fellini himself started his career as a writer during the era of neorealism, and even his first works as a director had the mood of that movement. But getting to know people like Flaiano and Pinelli made his work a little more organized and he could more easily go through the period of transition from neorealism cinema to more personal cinema. These three created a masterpiece together so that their collaboration became the most lasting and the best collaboration between the writer and the director in the history of Italian cinema.

The time had come when it was as if Fellini lived in a mobile circus in his mind. You could see these different manifestations of madness in his works. Take a look at the movie "Eight and a Half"; It is a complete circus. Well, in this era, who could harmonize his mind with Fellini's mind and be by his side on the way to create these works. This person must be a unique genius who can collaborate with a genius like this.

Luckily for Fellini, not one, but two geniuses were found and made it easier for this great director to express his ideas in the language of cinema. to define Adaptation to this world was so rare that even after Flaiano's death in the early seventies and the abstraction of Fellini's films in the eighties, he still went to Pinelli to put his thoughts on paper. Pinelli, Flainave and Fellini met in 1946 at the height of the neorealism movement. At that time, all three of them were just writers, but they never separated and remained friends until their death. Maybe they will find an answer to their questions, but it is life itself that is flowing with all its greatness, and this life is being lost from them. Of course, the beginning and then the transition of the neorealism era also affected the work of these three people, but unlike the case of Zavattini and De Sica, these three people created their best works in the post-neorealism era.

2. Hideo Oguni, Ryuzo Kikoshima, Shinobu Hashimoto - Akira Kurosawa (1952 to 1993) Top 10 collaborations between director and writer in the history of cinema; From worst to best

Sometimes directors need more than one writer to put their ideas on paper. Kurosawa is one of them and he gathered a team of writers to work for him. He was like an emperor who monitored all the components of the work and everyone counted on him. It was in collaboration with these three people that Kurosawa was able to create some of his best films, including "Seven Samurai".

"Seven Samurai" has everything to attract the audience; Both attractive characterization, both fighting and sword fighting scenes, both male relationships full of ups and downs, and love. Both Faragh Yar and Alas have passed away, and in short, everything that makes watching a movie attractive for any audience, with any taste. And it gives a unique character that is different from other samurai in Japanese cinema. His chosen people had the ability to laugh and laugh and tell jokes, and in time they would become the same samurais you had met. The world with all its troubles is a place of passage for them, and if they don't have a reason to live, they get to work and look for one.

Sometimes all four of them worked on a film, and sometimes only Two people were present. Kurosawa was very interested in hearing other people's opinions and wanted his writers to see the story from their point of view and let him know their opinion. For this reason, he was accompanied by a great team of writers. This made the screenplay include different angles and become a more comprehensive work.

Akira Kurosawa always believed that a good movie cannot be made unless it has a good screenplay. His team of writers had the ability to write a good screenplay in any genre. Their writing ranged from historical films and swordplay or so-called "Shimbara" to films set in post-World War II Tokyo. One of the reasons why Kurosawa created a masterpiece in any genre is the benefit of these men behind the scenes.

In fact, they were saddened by the miseries and sufferings of the people of their country. When Kurosawa and his team of writers were making a historical film, they were going to the problems of the present time and trying to delve into the present of their country. But because of the tone and shape of those films, everything was under wraps and the audience had to imagine themselves to understand what the filmmaker was saying. But sometimes Kurosawa took out his camera and informed his team to touch on the point that bothered him in the most expressive way possible and reveal a scandal. This group was always by his side and did his job in the best possible way.

1. IEL Diamond - Billy Wilder (1957 to 1981) Top 10 collaborations between director and writer in the history of cinema; From worst to best

  • Indicative films : Some like it hot (some like it hot 1959), the apartment (1960), Irma la douce (1963), and Shirin Shansi (the fortune cookie 1966)

After Charles Brackett broke up with Billy Wilder after 11 years together, Wilder was in trouble. He needed another assistant to write down his ideas. Billy Wilder started his career in Hollywood by writing screenplays for giants like Ernst Lubitsch and was able to make a name for himself among writers. After he became a director, he quickly went up the steps and became one of the greatest and immortalized his name in the history of cinema.

With the addition of IAL Diamond, his works are not only He still retained the former bite, but a kind of black comedy overshadowed the mood of his films, which made you cry and laugh at the same time. The moral world of Wilder's films became more complicated during this collaboration, and there were no moralistic people in the films. The characters in his works were ordinary people with ordinary problems and sometimes they were mischievous. The director told these stories in such a way that you couldn't take your eyes off the screen.

IEL Diamond definitely played a key role in Billy Wilder reaching this type of cinema. Dialogue writing reached its peak during Billy Wilder's career and left behind a perfection that could only be found in the works of Charles Lederer and Howard Hawks. On the other hand, the middle class of America was also neglected and both of them desecrated this sacred class and showed their hypocrisy and conservatism.

It is strange that despite all these themes, the films of these two They are so sweet and charming that at first glance it seems like they only have a story to tell and there is no purpose behind their creation except to entertain. But if you look at each of them, you will realize that this simplicity comes from the mastery of master craftsmen who have gone through hardships and complexities. The cooperation of IAL Diamond and Billy Wilder is the highest level of cooperation between the writer and the director in the history of cinema, and such perfection has not yet been seen.

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