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Wally Wood’s 22 Frames That Always Work

Monday, April 3rd, 2017

Click here, or on the image above, to see 22 great ways to design and set up a shot for maximum impact.

Wally Wood was one of the most talented comic artists of all time – and he left behind this invaluable guide to designing shots for maximum impact with speed and efficiency. Anne Lukeman and some of her friends put together this brief tutorial on the 22 shots, how they’re designed, and what they accomplish.

As Wikipedia notes, “Wood struggled to be as efficient as possible in the often low-paying comics industry. Over time he created a series of layout techniques sketched on pieces of paper which he taped up near his drawing table. These ‘visual notes,’ collected on three pages, reminded Wood (and select assistants he showed the pages to) of various layouts and compositional techniques to keep his pages dynamic and interesting . . .

Around 1981, Wood’s ex-assistant Larry Hama, by then an editor at Marvel Comics, pasted up photocopies of Wood’s drawings on a single page, which Hama titled ‘Wally Wood’s 22 Panels That Always Work!!’ (It was subtitled, ‘Or some interesting ways to get some variety into those boring panels where some dumb writer has a bunch of lame characters sitting around and talking for page after page!’)

Hama left out 2 of the original 24 panels as his photocopies were too faint to make out some of the lightest sketches. Hama distributed Wood’s ‘elegantly simple primer to basic storytelling’ to artists in the Marvel bullpen, who in turn passed them on to their friends and associates. Eventually, ‘22 Panels’ made the rounds of just about every cartoonist or aspiring comic book artist in the industry and achieved its own iconic status.”

While these shots are designed for comic books and graphic novels, they have a nice film noir feel, and can easily be seen as setups used in numerous comic book films today. Wood’s no-nonsense design template has been handily transferred to live action by Lukeman, with live action figures demonstrating the usefulness of the various designs. As has been pointed out, the acting here is minimal, but as a tutorial, this is an extremely useful tool for both filmmakers and artists.

And yes, these 22 panels always do work – a tribute to Wood’s genius as an artist.

Denis Côté’s Joy of Man’s Desiring and Bestiare on DVD

Friday, February 24th, 2017

Denis Côté’s superb films Bestiaire and Joy of Man’s Desiring are finally available on DVD.

As I wrote of Côté’s work in conjunction with an interview I did with him for Senses of Cinema in June, 2015, “Denis Côté is a young Canadian filmmaker who has burst onto the international film scene with a group of challenging and innovative movies in the past few years. Born 16 November, 1973 in New Brunswick, Canada, Côté began his career with a group of short films, and made his first feature in 2005, Drifting States (Les états Nordiques), which won the Golden Leopard at the Locarno International Film Festival.

Since then, Côté has worked a number of commercial and/or personal projects, most notably Curling (2010), a father/daughter family drama that was exceptionally well received by audiences and critics alike; Bestiaire (2012), a “docufiction” – that’s my own term – film centering on the animals who populate a tourist destination zoo in Canada; and Vic+Flo Saw A Bear (Vic+Flo ont vu un ours, 2013), a harrowing tale of two women trying to make it on the outside after a stint in prison, and how the world conspires against them to make redemption – at least in life – almost impossible. Vic+Flo Saw A Bear was probably Côté’s most successful film to date, and was screened at more than 90 festivals around the world.

Côté’s Joy of Man’s Desiring (aka Que ta joie demeure, 2014), which documents, after a fashion, daily life on the factory floor, as workers methodically partner with their machines to create the staples of daily existence, is one of his most individual works. In all these projects, Côté offers his own unique take on concepts of narrative in his fiction films, and reportage in his documentaries, to create a series of films that are at once open-ended, mysterious, and subtly disturbing.”

Since them, Côté has completed Boris sans Béatrice, a typically uncompromising film centering on a marriage falling apart, which was selected to compete for the Golden Bear at the 66th Berlin International Film Festival –  now available on DVD from K Films. I saw Boris sans Béatrice on streaming video, but of course the chance to own a hard copy of the film can’t be passed up. Côté is a one-of-a-kind filmmaker, who is only now getting some measure of the attention he deserves; his work increases in depth and resonance with the passage of time, and he’s clearly a major talent.

I want to especially thank Gwendolyn Audrey Foster for introducing me to Côté’s work – it’s magical.

Recent Video: Time’s Up!

Saturday, February 18th, 2017

Recently, I have been making a number of recombinant videos; click here to see Time’s Up!

I’ve been making films and videos since 1966, and my work has been screened at The Museum of Modern Art, The Whitney Museum of American Art, Anthology Film Archives, The Microscope Gallery, The British Film Institute, The Jewish Museum, The Millennium Film Workshop, The San Francisco Cinématheque, The New Arts Lab, The Collective for Living Cinema, The Kitchen Center for Experimental Art, The Filmmakers Cinématheque, Film Forum, The Amos Eno Gallery, Sla 307 Art Space, The Gallery of Modern Art, The Oberhausen Film Festival and at numerous universities and film societies throughout the world.

In 2003, I was honored with a retrospective of my films at The Museum of Modern Art, and my films from 1966 to 1994 were acquired for the permanent collection of the Museum, in both print and original format. However, as film became ever more expensive in the 1980s and 1990s, I turned more towards writing and critical work, but suddenly, I was drawn again to making films. Now, with the advent of digital HD video, and the ease of video distribution on Vimeo, I’m working again, creating new films, with screenings in New York this past November, 2016, and more to come in the future.

As someone who is fascinated with pop culture, many of my films use footage and soundtracks that are in the public domain, or released under a creative commons license, and are made entirely from recycled, repurposed and refashioned images and sounds. Time’s Up! is a good example of the style of video production. The other interesting point for me is that I’m reaching more viewers through Vimeo than in all my museum screenings put together; as I observed to a friend of mine who is also a video and film artist, Vimeo is now the new “cinematheque” for experimental work.

When my film Serial Metaphysics was screened at The Whitney Museum of American Art, Bruce Rubin, then Associate Curator film and video programming for the museum, wrote in part that “Dixon is a masterful film editor. His sensitivity to the movement within the frame and of the camera itself allows for a fluidity in his editing that is exuberant and refreshing. He is skillful not only in manipulating the flow of images but the flow of ideas as well.” So take a look at this brief film – which runs about two minutes in all -

and then if the mood strikes you, click here to go to my Vimeo site.

The Met Goes Digital!

Sunday, February 12th, 2017

The Metropolitan Museum of Art has more than 400,000 images free for download for non-commercial use.

As the museum’s website notes, “Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that more than 400,000 high-resolution digital images of public domain works in the Museum’s world-renowned collection may be downloaded directly from the Museum’s website for non-commercial use—including in scholarly publications in any media—without permission from the Museum and without a fee. The number of available images will increase as new digital files are added on a regular basis.

In making the announcement, Campbell said: ‘Through this new, open-access policy, we join a growing number of museums that provide free access to images of art in the public domain. I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection.’

The Metropolitan Museum’s initiative—called Open Access for Scholarly Content (OASC)—provides access to images of art in its collection that the Museum believes to be in the public domain and free of other known restrictions; these images are now available for scholarly use in any media. Works that are covered by the new policy are identified on the Museum’s website (http://www.metmuseum.org/collections) with the acronym OASC.

Certain works are not available through the initiative for one or more of the following reasons: the work is still under copyright, or the copyright status is unclear; privacy or publicity issues; the work is owned by a person or an institution other than the Metropolitan Museum; restrictions by the artist, donor, or lender; or lack of a digital image of suitable quality.

OASC was developed as a resource for students, educators, researchers, curators, academic publishers, non-commercial documentary filmmakers, and others involved in scholarly or cultural work. Prior to the establishment of OASC, the Metropolitan Museum provided images upon request, for a fee, and authorization was subject to terms and conditions.

A related blog post by Sree Sreenivasan, the Met’s Chief Digital Officer, about the Metropolitan Museum’s new OASC policy can be found at http://www.metmuseum.org/about-the-museum/museum-departments/office-of-the-director/digital-media-department/digital-underground/2014/image-use-policy. Additional information and instructions can also be found at http://www.metmuseum.org/research/image-resources/frequently-asked-questions.”

For more details, click here, or on the image above; an incredible free resource is now available to all.

Drew Taylor in Vulture: The Disney Vault is Real!

Saturday, February 4th, 2017

Long shrouded in mystery, the “The Disney Vault” is very, very real.

As Drew Taylor writes in Vulture, “in an anonymous block of Glendale, California, sits a nondescript beige building free of signage or distinction. The only thing that would even alert you to the fact that this is the Disney equivalent of Fort Knox is the abundance of insane security procedures stationed around the building.

Even for employees of the company, the building remains elusive and hard to gain entry to. (Full disclosure: I worked for the company for almost two years and never once got to go.) Unlike the main studio archives down the street, which are housed in an inviting glass building with ample signage — it’s this location that appears on-camera whenever the company makes documentaries about the Disney Vault — this place feels like a mirage . . .

Just in terms of size, the vault is insane — there are 12 vaults, each organized by project. This includes everything from the original sketches for Snow White and the Seven Dwarfs to larger-scale items like all of the puppets from The Nightmare Before Christmas and Frankenweenie.

Each room is climate controlled and meticulously catalogued, with state-of-the-art security and fire-suppression systems in place. By the library’s own estimates, there are something like 65 million pieces of art in the collection, which makes it the largest collection of animation artwork in the entire world.

The vaults look like what you’d think something like this might — the rows of stuff are located in cabinets which can be moved with a big spinning handle (like a vault), so you can easily get to them. As for the artwork, it’s filed in a way that it should be, with cells or production artwork stacked horizontally, while other, less sensitive items are filed vertically, in accordion-style folders.

Oversize items like large background paintings are housed in separate flat files. The sensation of walking into one of the vaults is like stumbling into the warehouse at the end of Raiders of the Lost Ark . . .

I was there as part of a small group of journalists who had been brought to the building ostensibly to celebrate Pinocchio leaving the Disney Vault with a digital rerelease. While there, I got to chat with Fox Carney, the manager at the Animation Research Library, and he told me that the archives contained ‘over a million’ pieces of artwork for Pinocchio alone.” And that’s just for starters . . .

Fascinating stuff, and you can read the entire article by clicking here, or on the image above.

New Video: Jacket

Saturday, February 4th, 2017

I have a new video in collaboration with artist Klaus Hausmann: click here, or above, to see it.

This is the sort of collaboration that could only happen in the digital era; Hausmann lives in Germany, and posted an 11 second version of this video on a video sharing website I sometimes visit. I expanded on the existing video, added the track, and voila – a collaboration that crosses borders, space and time with impunity.

As I wrote in the brief description for the video, “is it a jacket, or a straitjacket – it’s hard to tell.” Hausmann’s struggle to get the jacket on in the proper fashion – aided and sometimes thwarted by stop motion videography – is a metaphor for the knotty situations we sometimes find ourselves in, and triumph anyway.

If you like Jacket, check out some of my other videos by clicking here.

Pioneering Video Artist Lillian Schwartz

Sunday, January 29th, 2017

Lillian Schwartz is a pioneering video artist, who is only now getting the attention she deserves.

As Wikipedia notes, “Lillian Schwartz (born 1927) is a 20th-century American artist considered a pioneer of computer-mediated art and one of the first artists notable for basing almost her entire oeuvre on computational media. Many of her ground-breaking projects were done in the 1960s and 1970s, well before the desktop computer revolution made computer hardware and software widely available to artists . . .

As a young girl during the Great Depression, Schwartz experimented with slate, mud, sticks, and chalk as free materials for making art. She studied to become a nurse under a World War II education program and later on found her training in anatomy, biology, and the use of plaster valuable in making art. Stationed in Japan during the postwar occupation in an area between Hiroshima and Nagasaki, she contracted polio, which paralyzed her for a time. As part of her rehabilitation, she studied calligraphy with the artist Tshiro . . .

By 1966, Schwartz had begun working with light boxes and mechanical devices like pumps, and she became a member of the Experiments in Art and Technology (E.A.T.) group that brought together artists and engineers as collaborators. In 1968 her kinetic sculpture Proxima Centauri was included in the important early show of machine art at the Museum of Modern Art in Manhattan, entitled ‘The Machine as Seen at the End of the Mechanical Age’ . . .

Schwartz was brought into Bell Labs in 1968 by Leon Harmon. While there, she worked with engineers John Vollaro and others, including extensive collaboration with Ken Knowlton, a software engineer and computer artist who had also had work in the 1968 Museum of Modern Art show. She began making paintings and films with a combination of hand painting, digital collaging, computer and other image processing, and optical post-processing . . .

Schwartz used the works of Leonardo da Vinci extensively in experiments with computers. One notable work she created is Mona/Leo, for which she compared the image of a Leonardo da Vinci self-portrait with the Mona Lisa, matching the two faces feature by feature to show their underlying structural similarity. Specifically, she replaced the right side of the Mona Lisa with the flipped left side of a red chalk self-portrait of Leonardo.

Superimposed lines drawn on the image showing the close alignments of the bottom of the eye, eyebrow, nose and chin prompted her to argue that the Mona Lisa is in part a cryptic self-portrait of the artist. In further experiments along these lines, she removed the gray tones in Leonardo da Vinci’s self-portrait and superimposed the Mona Lisa eye over it.

Schwartz has been called a pioneer in ‘establishing computers as a valid and fruitful artistic medium’ by physicist and Nobel laureate Arno Penzias and a trailblazer and virtuoso by the philosopher-artist Timothy Binkley.Her films have been included in the Venice Biennale and the Cannes Film Festival, among many others, and have received numerous awards. Among these is an Academy Award (with Ed Emshwiller) in 1980 for special effects on the film The Lathe of Heaven. In the 1980s, a computer-generated TV spot that she created for the newly renovated Museum of Modern Art in New York won an Emmy Award.

Schwartz’s artworks have been exhibited at the Museum of Modern Art (New York), the Metropolitan Museum of Art, the Whitney Museum of American Art, the Moderna Museet (Stockholm), Centre Beauborg (Paris), Stedlijk Museum of Art (Amsterdam), the Grand Palais Museum (Paris), and at numerous galleries and festivals worldwide.

Schwartz has been a visiting member of the Computer Science Department at the University of Maryland; an adjunct professor at the Kean College, Fine Arts Department; an adjunct professor at Rutgers University’s Visual Arts Department; an adjunct professor at the Psychology Department of the School of Arts and Sciences, New York University; and a Member of the Graduate Faculty of The School of Visual Arts, NYC. She has also been an Artist in Residence at Channel 13, WNET, New York. She has been a fellow of the World Academy of Science and Art since 1988.”

This is just a brief overview of Schwartz’s work as an artist; still very active with a gallery show at the prestigious Capri Gallery in Germany running through the end of March, 2017 (click here for full details), she is also the subject of an excellent short documentary on her life and work, which can be found by clicking here, made just before her 87th birthday. Direct, unpretentious, and absolutely determined, Schwartz has too long labored in the shadows of the art world, when her prodigious accomplishments clearly place her in the absolute vanguard of computer and video art.

I thank Gwendolyn Audrey Foster for introducing me to Schwartz’s work; see more by clicking here.

Hyperallergic: Gordon Parks’ Long-Forgotten Color Photographs

Monday, January 16th, 2017

Gordon Parks was a master photographer – and some of his best work has been hidden – until now.

As Chris Cobb writes moving in the journal Hyperallergic, “when Life magazine sent Gordon Parks to document the daily lives of three black families living in Alabama, it was 1956, during the Montgomery bus boycott. He knew he could have gotten beaten or killed — but he went there anyway.

He was in Alabama shortly after Rosa Parks became world famous for not giving up her seat to a white man and around the same time the Klu Klux Klan had mobilized to defend segregation. In other words, Parks’s assignment was to become a fly on the wall during one of the most turbulent times in American history. While there, he witnessed, among other things, the emergence of a young leader named Martin Luther King Jr., then known as the president of the Montgomery Improvement Association.

But Parks was not there to photograph King; he was always in the foreground. On the contrary, Life wanted Parks to reveal what had always been in the background — ordinary black families — and show the magazine’s readers how they really lived. The project was to be a counterpoint to misinformation spread by segregationists who claimed that a racially separated, caste-based society was good for everyone.

So Parks followed various people around, going to the store, to the mall, to playgrounds, and to school; he hung out at their ramshackle homes, most of which looked like they were straight out of the 19th century, which they probably were, and took pictures everywhere he went.

In the end, Life published just 26 of those photographs — all shot on color slide film — and then the rest were put away in a small box and forgotten. Since that time, nobody has seen them — not until they were rediscovered in 2012 by archivists at the Gordon Parks Foundation. The gorgeous, large prints now on view at Salon 94 are a selection of those images, and like a candle in a dark room they illuminate that long-forgotten history.

Significantly, most images of the Civil Rights era are in black and white, shot mostly by photojournalists. Parks, however, was no ordinary photographer — he was an artist who happened to also be a photographer and as these pictures show, he frequently deviated from his journalistic impulses to capture what can only be considered great art.

The central photograph in the show is unmistakably brilliant and, I’d say, somewhat of a modern masterpiece. ‘Ondria Tanner and Her Grandmother Window-shopping, Mobile, Alabama, 1956′ surpasses the documentary tradition Parks excelled at, transforming everything in his viewfinder into charged symbolic space.

To get this image Parks placed himself on the other side of a big glass display case that was full of white-skinned mannequins and framed a woman and her grandchild in such a way that it seems as if the little girl were being guided through a forest of white, soulless zombies. You get the sense the woman and girl must tread lightly and be careful — lest they awaken these dangerous figures.

The sweetness of the gesture and the vibrant image shot in radiant color evoke both warmth and danger at the same time. More striking yet is the almost invisible reflection of the photographer in the window. It is not a didactic image; it is composed more like a Botticelli painting or a mannerist allegory.

About this photograph, Parks Foundation official Peter W. Kunhardt Jr. said, ‘So this is Ondria Tanner and her granddaughter looking into a white clothing store and sort of the life she doesn’t have … and you know Gordon really didn’t stage these pictures. He would follow them around and just observe what they were doing.’”

I was lucky enough to meet and talk with Gordon Parks in 1969, when he was moving from still photography into motion picture direction with The Learning Tree (1969), a truly pioneering film about civil rights which Parks wrote and directed. To my mind, at least, it is a forgotten American masterpiece, even though the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

But it still needs to be seen more often, as does his still photography work, which made his initial reputation as an artist of the first rank. I was working as a writer at Life at the time, for a new magazine that never came about – Life Movie – and Gordon Parks walked into my office one day, and we sat down and talked for awhile. He was kind, generous, and really excited about making the shift to motion pictures – and he pulled it off magisterially.

That there is so much of his work still to discover is a real gift in 2017.

The HearteartH 2016 International Videoart Project

Friday, January 13th, 2017

Here’s a great chance to see some bleeding edge video art- work you can’t see anyplace else.

Gwendolyn Audrey Foster and Wheeler Winston Dixon’s videos The Gaia Triptych and Human Scale are being screened as part of the HearteartH 2016 International Videoart Project, curated by Sonia Armaniaco and Maria Korporal, at the website <www.visualcontainer.tv>, January 13 – February 15, 2017. You can see the entire program – which runs several hours – by clicking here, or on the image above.

As the group’s website notes, “HearteartH is a collective project for artists and media makers ideated by video artists Sonia Armaniaco and Maria Korporal. The concept took life from these two interlocking words: HEART and EARTH. The strong symbolism of the two words, which are inevitably associated with life, has a strong pull. One is drawn into it. In the almost fateful dependence of these terms of one another, they seem inextricably linked together, even permanently, forever.

The assembly of Heart and Earth in the title, in one word, follows this substantive consequence. The nearly identical letters gives the impression of an anagram, and so the title gets something of a magic spell from which we cannot escape. Due to the large H at the beginning and end of the word, the title sounds as a breath. Heartearth is so an unlimited ongoing project, as well as the topic has no end, ‘life goes on’, ‘the earth continues to rotate.’ In this doubling of the word is a power that can give life.

As Life is always looking for additions and adjustments, Art as well has the force to open new viewpoints and new feelings about this peculiar theme; Art which is so close and yet so far away, and which can be so beautiful and at the same time frightening. Or Art could provide an opportunity to think about it.”

Videos In The Program:

Alessandra Arnò: Earth, 3:14
Alessandro Amaducci: Bloodstream, 7:15
Alessandro Amaducci: A Tell-Tale Heart, 3:31
Abdoul-Ganiou Dermani: “Ega” (Money), 1:36.
Aliénor Vallet: Horizon Vert Azur (Green Azure Horizon), 5:00.
Andrew Payne: Moon and cloud movements 3 , 1:00.
Angiola Bonanni: Love Woes, 12:05.
Annique Delphine: Plethora, 3:21.
Barbara Brugola: Lapse of View, 3:19.
Barbara Wolters: Intervention, 2:58.
Brian Kane: Being Human: Al Design, 2:42.
Bunker Media: Earth, 2:10
claRa apaRicio yoldi: Zoom in, 3:19.
Damira Piližota: Hurry, 1:03.
Daniel Ivan: Haiku, 5:05.
Eija Temisevä: Searching for Sense, 4:58.
Eija Temisevä: Vitality of a tree, 3:15.
Eleonora Manca: METAMOR(pH), 4:11.
Eleonora Manca: I Sing The Body Electric_Psyché, 1:26.
Erick Tapia: TERRITORIUM, 3:25.
Florent Texier: Les Vapeurs (The Steams), 2:11.
Fran Orallo: Vulcano, 4:08.
Fran Orallo: Beats, 4:30.
Gaetano Maria Mastrocinque: Argille, 5:48.
Gisela Weimann: Welt in Flammen – World in Flames – Monde en Flammes, 11:37.
Gwendolyn Audrey Foster: Virtual Gallery – The Gaia Triptych, 1:14.
Heli Ström: Refuge, 3:00.
Irina Gabiani: Neither a beginning nor an end, 1:40.
Irina Gabiani: I don’t think you can, 3:43.
Isabelle Hayeur: Pulse, 3:00.
JfR (Jean-Francois Réveillard): BREATH, 2:00.
Johanna Speidel: The Mirror, 5:26.
Jukka-Pekka Jalovaara: K.E.R.O.S.E.N.E poems from the planet, 7:08.
Kim Dotty Hachmann & Ginny Sykes: Healing Grounds, 3:38.
Larry Wang: All is Serene, 1:18.
Larry Wang: BARCODE, 2:17.
Laura Focarazzo: Hunting, 6:15.
Lino Strangis: Metaphysical Orogeny, 7:44.
Lotte Geeven: The sound of the earth, 1:14.
Maria Koehne: Standing Still, 5:44.
Maria (Felix) Korporal: Underwater Desert, 2:35.
Mariangela Ferraris aka MaryMee: .flow, 00:59.
Mariangela Ferraris aka MaryMee: 01.Hello World!, 01:49.
Mariel Gottwick: Meine Weltshow, 8:00.
Miriam Dessì: Fertilia, 4:59.
Mr. Armtone: Mistabishi – Druggers End (Mr. Armtone Video-Edit), 3:24.
Murat Sayginer: Volans, 2:33.
Myriam Thyes: Global Vulva, 6:20.
Paolo Bandinu: No Country, 2:21.
Pèninsolar: Under The Hanoi Monorail, 4:47.
s-ara (Sandra Araújo): Rio-me porque és da aldeia e vieste de burro ao baile, 2:53.
Sandra Becker 01: pachamama4.0, 3:11.
Reelvision: acqua vitae, 2:37.
Sarah Wölker: eNe mEne mIlchzahN, 5:22.
Shivkumar K V: one good cause…, 2:47.
Sonia Laura Armaniaco aka §vonica: GAIA, 3:49.
Sonia Laura Armaniaco aka §vonica: no more UPGRADE , 7:57.
Stephan Groß: Die Liebe in den Zeiten der EU (Love in the time of the EU), 5:57.
Susanne Kunjappu-Jellinek: Heart of RootsEarth of Fruits, 2:47.
Sylviatoyindustries (Sylvia Toy St. Louis): VOICE: A Fly-by on Lyssa’s Maiden Voyage (festival cutting 2), 0:42.
Takehito Etani: Transparent Footprints of Invisible Giants / San Francisco Chapter, 3:27.
TinyarVisuals (Tina Sulc): Illusion of Hydrosphere, 2:52.
Tiziano Bellomi: Winter 2015/2016, 0:51.
Tom Albrecht: Eivergrabung, 3:56.
Vladislav Solovjov: Home, 1:13.
Wheeler Winston Dixon: Human Scale, 4:21.
ydl (Yannick Dangin Leconte): Propagande, 4:44.

Read more about the collective and their work by clicking here: much better than average television!

Twin Peaks is Coming Back – Lynch to Direct Entire Series

Monday, January 9th, 2017

David Lynch’s cult series Twin Peaks is coming back for a full season on Showtime.

As James Hibberd wrote in Entertainment Weekly just a few hours ago, “Showtime just surprised the Television Critics Association with a David Lynch press conference for its upcoming revival of Twin Peaks. The reclusive Lynch is directing all 18 hours of the limited series.

The resulting 15-minute Q&A was a rapid-fire flinging of questions from the ballroom of reporters who received Lynch’s maddeningly vague, occasionally illuminating, and sometimes hilariously brief responses.

How does this compare to your other projects, and what should fans expect?

First, it was just the same as all the others. I see it as a film. A film in parts is what people will experience. It was a joyful, fantastic trip with this great crew and cast . . . This word ‘expect’ is a magical word. People expect things, and their expectations are met when they hopefully see the thing.

What’s your process of working with co-writer Mark Frost?

Well, in the beginning, many years ago, Mark and I were as if lost in the wilderness, as it always is in the beginning. Then we seemed to find a mountain and began to climb, and when we rounded the mountain, we entered a deep forest, and going through the forest for a time the trees began to thin, and then coming out of the forest we discovered a small town of Twin Peaks. We got to know the people of Twin Peaks and got to know this mystery. … We discovered this world. And within this world there are other worlds. That’s how it started.

What makes Mark a good co-writer for you?

Mark is very smart. We’re both strong, but both different. We bring to the table different things, but we each understand the other thing. It’s just a good combo for Twin Peaks.

So what’s your process then?

We work together on Skype. Mark lives in Ohio. I live in Hollywood, and we Skype and write together.

What have you been thinking about Twin Peaks over the years?

I’ve often wondered about this beautiful world and characters. Mark asked if I wanted to go back to this world. That’s what got us going again for this one.

What did you appreciate about the original series?

I’ll tell you what I loved: The pilot of Twin Peaks. That for me set the tone. That made the world and the characters for me. I felt really good about that. I just fell into deep, deep love…

You can read the entire interview here – the series premieres this coming May, 2017.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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