How much does a long-term collaboration process between composer and director influence the former's success as an author? Provide appropriate examples. In this essay I will explore the unique collaboration between director and composer and how a long-term collaborative process between the two can influence the former's establishment as an author. An author, in this case, represents an authority who actively shapes the story and message of the film but at the same time can be understood as an author of music, I will try to consider both factors. In this process I want to start with the director's general relationship with music, then, answering the main question, I will provide examples of the European collaboration of Theo Angelopoulos and Eleni Karaindrou, focusing on their approach to using music in new ways, as well as examples from best-known collaborations between Alfred Hitchcock and Bernard Herrmann and that of David Cronenberg with Howard Shore. Furthermore, I will include the conclusions of my personal experience with my friend and director Nuno Miguel Wong. At the same time, this essay is not an analysis of the music in the films of the aforementioned collaborations, but rather focuses on their distinct working relationship and how it may have influenced their musical approach and productivity. To fully understand the relationship between a director and a composer, it is helpful to look more closely at the director's stance towards music in film in general; these may obviously differ substantially from one administrator to another. It seems, one must think, that the full narrative and emotional potential of film music is not yet fully recognized and appreciated in many film productions... middle of paper... new forms of creating art can be tried, questioning and expanding the very nature of collaboration itself. Finally, as the cited examples show us: composers immersing themselves with a director in the early stages of their career can end up being one of the most natural, harmonious and fruitful artistic relationships for both. It is hoped that in the future more and more composers can become a more active part in the narrative as co-authors of the film, while remaining a composer of versatile and original music, in other words a great composer.Works CitedM. Mera and D. Burnard, European Film Music (London, 2006)RS Brown, Overtones and Undertones: Reading Film Music (Berkeley and Los Angeles, 1994)NJ Schneider, Handbuch Filmmusik II. Musik im dokumentarischen Film (Munich, 1989)M. Schelle, The Score: Interviews with Film Composers (Los Angeles 1999)