In “Notes on the Auteur Theory in 1962,” Andrew Sarris stresses three areas of directorial achievement for all legitimate film “auteurs”: 1) technical competence, 2) individual style, and 3) interior meaning. He explains that the most difficult of these to define (and the most important overall) is the last. Think back through your own history of watching movies. Find an example within one of your favorite films that illustrates what Sarris means by “interior meaning.” Explain why you think it fits. Was your choice purely subjective, or were you guided by something great within the film itself?