The moment a film production relies on a team of screenwriters, it forfeits the possibility of producing a work of art. It is the most obvious of the obvious: the filmmaker and the screenwriter must be the same person, and the work must be an individual creation. Cinema, however, has turned the former into a sort of manager, a specialist in scene composition, the person who decides where the camera should be placed; the latter, on the other hand, no longer exists, because he has multiplied into a team. No matter how talented the screenwriter may be, in a collaborative work, his talent will be diluted. The team will certainly produce a well-rounded screenplay; and it is precisely for this reason, because consensus will prune out the eccentric elements, the scenes that do not fit, the “nonsensical” dialogue, and the idea “that won’t work,” that the film loses, from the outset, the uniqueness that characterizes a work of art. A screenwriter, without a name, cannot become a filmmaker. A filmmaker, without money, cannot produce a film without a binding contract. So, there is not much more to say.