The best crew records are mostly one director’s
The top of the cinematographer, editor and composer boards is mostly one director's regular crew. This page splits each record into the films made with that director and the films made without.
The finding
Of the 30 people at the top of the cinematographer, editor and composer boards, 20 made more than half of their counted films with one director, and nine made every one of them with the same director (two of them by directing their own films). Across the other 1,171 qualified people in those roles, 32% did. It is not only the studio era. Among people whose median film is from before 1970, 48% of those with an average of .500 or better (24 of 50) made most of their films with one director, against 23% of the rest. Among those whose median film is from 1970 on, 73% of those with an average of .500 or better (11 of 15) made most of their films with one director, against 33% of the rest.
How it was measured
Each person's record is the one on their own page: hits out of their counted feature films. Their main director is the director credited on the most of those films. The two right-hand columns split the record at that director. The people are the top 10 of each board, in the board's own order.
What this can’t show
A crew record counts only films that are in the data, which is built from the filmographies of the directors and actors the site covers. Work for anyone outside that set is missing: Masaru Satō, for example, scored many genre films, the Godzilla films among them, that are not in the data. So a "without" column can be short, or empty, because of coverage rather than career. And a record made with one director is still that director’s films: this shows whom the best-rated crews worked for, not what they added.
Related
How these numbers work: Methodology