Cooper’s filmography from that point reads like a who's who of Oscar mainstays, he has worked with David O’Russell several times, as well as Clint Eastwood, (twice) Guillermo Del Toro, Dan Trachtenberg, Thee Paul Thomas Anderson, and is now on his second prestige project directed by and starring himself. Jake Gyllenhaal had a similar career trajectory in that it was very herky-jerky to start. Hollywood did not seem to know what to do with him. One day he was in “The Day after Tomorrow” the next he was in “Brokeback Mountain”, one “Zodiac” the next “Prince of Persia”. The difference in these movies is actually to be admired (except Prince of Persia…like ..why?) but they were flopping, and as a consequence Gyllenhaal despite showing the same skills we all see today, had not found his stride, I don't even know that he had found land yet. Land and a stride would arrive, starting with David Ayers “End of Watch”. I found Ayer’s movie to be a dutifully proud evocation of mediocrity in whole, and pure copaganda but Gyllenhaal was absolutely brilliant in it as was his scene partner Michael Pena. From that point Gyllenhaal began an unprecedented record of escape tricks from any sense of patterned thinking around what movies he's going to do, while simultaneously only increasing his value as an actor in that realm of Hollywood that some might call the “A list”. Gyllenhaal’s type of director is as elusive as his type of movie and it shows. He has worked with Denis Villeneuve (twice) Antoine Fuqua (twice) Tom Ford, Daniel Espinoza, Bong Joon-ho, Jacques Audiard, Michael Bay and Guy Ritchie. Coopers filmography for all its stature, elicits no such sense of wonder, intrigue or quality. I am bored, watching the trailer from Maestro elicited not one tiny infinitesimal particle of interest from my body, and if anything I might have yawned without knowing it.