When The Angels’ Share was being shot in Tain, in the county of Ross-shire in the Highlands, I spent one week on location and on a few occasions joined the younger-in-spirit and more agile cast and crew members who spent downtime playing football on a grassy park near to their digs. I recalled the experience when listening to Loach’s speech on receiving the Cannes Film Festival Palme d’Or for I, Daniel Blake: ‘The first thought is for all the people who helped you make it. If you were a football team winning the championship, everybody would get a medal but in films, the director has to go up. Obviously, it is for the whole team.’ In foregrounding filmmaking’s collaborative nature and comparing its production to a working-class team sport, Loach’s observations contrast sharply with the Alexander Astruc1 Tony Garnett auteurist discourses which dominate popular film culture, and which continue to haunt film scholarship. In this chapter, I explore this contrast and seek to illuminate understanding of tendencies (8) the importance of teams and leaders on- and off-screen, and (9) control of production, of the Certain Tendencies in Loach’s Cinema laid out in the Introduction. I do this through analysis of four imbricated areas: debates on authorship in film and television scholarship; the functioning of leadership and teams in the production of The Angels’ Share and Loach’s wider body of work; how Sixteen Films present this production context publicly; and how leadership and teams are represented in the films themselves.