My notes from Terry Gilliam’s 10 lessons

3. Auteurism is out. Fil-teurism is in.

Being an auteur is what we all dreamed of being, as far [back] as the films of the late ‘50s and ‘60s, when the idea of the auteur filmmaker arrived on the planet. And people kept using that term, and they do with my movies because I suppose they are very individual and they give me all the credit, so they say I’m an auteur. And I say no, the reality is I’m a ‘fil-teur.’ I know what I’m trying to make but I have a lot of people who are around me who are my friends and don’t take orders and don’t listen to me, but who have individual ideas. And when they come up with a good idea, if it’s one that fits what I’m trying to do, I use it. So the end film is a collaboration of a lot of people, and I’m the filter who decides what goes in and what stays out.

4. Put your ideas in a drawer. Take them out as needed.

I do have a drawer in my desk with all the ideas that I have and that I scribbled out. I put them in there and some day I use them. At the beginning of a new film, I often go in that drawer and look at everything I’ve done and see if there are some ideas that might apply to what I’m doing. But things grow, so I just start with a sketch and then refine it. And you do it with other people’s ideas coming in. That’s the fun part.

Zadie Smith has said the same thing about drawers.

On fil-teuring and control, see also Louis CK:

I’m not a dictator, because I’m not in control of anything, I’m just deciding what to try. To me, it’s not that I control a bunch of people, it’s just that nobody controls me. There’s nothing above me except responsibility to the product. That’s the ultimate responsibility, is if the show sucks, then what was the fucking point of being in charge? I’m right about these things on the show, and when I’m not, it’s interesting to watch me be wrong. I don’t think you have to be perfect, you just have to be compelling in the work you do.