"There may be no greater refutation of the auteur theory — the notion that a great film is a product of a single directorial genius — than the number of fine movies that were assembled by scrabbling, sometimes squabbling parties, operating with no clear end in sight. Movies as diverse as “Casablanca,” “Laura,” “The Wizard of Oz,” “Beat the Devil,” and “Apocalypse Now” emerged from a welter of (take your pick) fired directors, fired actors, overbearing producers, minute-by-minute script changes and a sequence of postproduction Hail Marys. The more closely one peers into their chaos, the more the idea of any one person authoring them degenerates into absurdity."
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