The revolution is already here, you just need to work the system. The writer can put in every camera angle and tell every actor how to act in every scene. It’s the old show and tell - you just show them, what you don’t do is tell them.

If you are working directly with an independent director/producer on a project, they don’t care how you write the script at that point. You can write it in Morse code if you wanted to, as long as they understand what is going on in the scene and are on the same page (pun intended). They work so closely with you anyway, they know it inside out.

The advice, writers write and directors direct (as well as writers write and actors act) is mainly aimed at unknowns sending spec scripts to competitions and production companies. It is commonly used gauge for how amateur the writer appears to be, not necessarily true of course but it is a perception.

This is because professional screenwriter use various ways to secretly insert camera angles into their screenplays. What they do is simply describe the action in such a way that it can only be done from a certain camera angle but without describing the angle. For instance - in one screenplay (JONAH HEX), the action in one particular scene is described thus:

Stiff, pale FINGERS, grimy nails, slightly curled into an aborted clutch, leaving knuckle-wide trenches the mud..

As you can see here, this scene cannot be done without a close up of his fingers in the mud. The writers (Mark Neveldine & Brian Taylor) have therefore sneaked in a few camera angles without actually saying so.

If a spec script uses the above, the script reader will be more impressed than:

EXTREME CLOSE-UP – MAN’S FINGERS
PULL BACK to reveal etc.

They are also less likely to be taken out of the story, which is the key thing to avoid in all scripts. Anytime the reader leaves the story, the more likely it is you will lose them.

It a similar story with directing the actors. Professionals usually write the action which lays out what the actor does without being intrusive. For example:
DECK CADET
(bored)
I hate mopping floors.

Well, you don’t really need to add the (bored) there at all and the dialogue is exposition. Imagine if you were an actor reading that? It really is an intrusive method.  So how about an intro to the cadet that lays it all out in a way the actor will appreciate like this:

A DECK CADET mops the floor. Since the birth of civilization someone has been mopping, and till humanity’s dying day, there will be someone pushing a mop. – This is from the pilot script for the TV show The Expanse. Now this is an unfilmable but is there any doubt how the actor is going to act for the entire scene after reading that line? Plus, it’s a far more interesting read than a (bored) cadet and doesn’t take me out of the story.

So writers, my advice for you is to tell the director how to direct, tell the cinematographer how to light the scene, tell the actor how to act and even the sound guy what sounds to use; tell everyone how to do everything, but do it by being a writer. Put it all in the story.