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Patty Jenkins in Final Talks to Direct Wonder Woman 2

Saturday, August 19th, 2017

Patty Jenkins is closing a deal to direct Wonder Woman 2 – but what’s taking so long?

As Anita Busch and Anthony D’Alessandro reported on August 17th in Deadline Hollywood (or Deadline for short, if you prefer – perhaps the industry’s most reliable trade journal, and usually first with the facts), “it’s been over two months since Wonder Woman opened to a staggering $103.2M and went on to gross close to $800M worldwide for Warner Bros. (with Japan yet to bow). The movie, directed by Patty Jenkins, not only re-invigorated DC movies and the studio itself, but became a symbol of strength for women across the country. Now Jenkins is returning to the director’s chair to helm the second film in the franchise that she was so instrumental in starting.

Last month at Comic-Con, the studio confirmed both a sequel with Wonder Woman star Gal Gadot and a release date of Dec. 13, 2019. However, curiously, there was no deal with Jenkins. Why the delay? Because Jenkins — who was lauded repeatedly during the Women in Film Crystal Awards this year by several of its nominees — expects to be paid substantially more and the same as a male director would receive after such a box office coup. That desire was seconds away from becoming a reality on Thursday evening as a deal was being finalized which would elevate her as the highest-paid female director in town.

And why not? Wonder Woman shattered several glass ceilings at the box office, including the best opening ever for a title by a female director and the best global haul for a live-action film directed by a woman as well as the third-highest grossing film in Warner Bros.’ history (behind only Christopher Nolan’s Dark Knight series). Although no payday was revealed, we understand that her payday and deal is in line with any other director who has performed at this level. A studio source said they were ‘confident the deal will be reached soon.’

Typically, according to sources, a frosh director on a comic book movie gets $1.5M to $3M, while a director in the realm of Zack Snyder (who is helming DC’s Justice League) received $10M against 10% cash break even for his second DC film Man of Steel. (That’s usually paid out as 20% during pre-production, 60% during production, 10% during post and 10% following).

Jenkins burst on the scene with the critically acclaimed indie film Monster in 2003 — she wrote and directed while Charlize Theron won [the Academy Award for Best Actress for the film] — then directed a number of TV episodes for such shows as Entourage and The Killing before she was hired on for Wonder Woman.”

But now it’s Saturday night, and there’s still no word if this is happening.

I’m not really a comic book movie fan, but that’s hardly the point: Wonder Woman was a groundbreaking entry in the comic book movie universe, and Jenkins’ direction was solidly effective, especially in the opening thirty minutes of the film, and the kick-ass action scenes throughout. She also imbued the characters in the film with a sense of depth and realism missing in nearly all other comic book films, where one character after another is shuffled on and off the screen solely to advance the narrative.

There’s no doubt that if Jenkins were male, after the smash success of Monster, she would have directed a stack of films by now, and not have been relegated to the second-tier world of series television. Michelle McLaren was originally slated to direct, but left over the usual creative differences, so Jenkins was the second choice, but she more than delivered the goods, and she’s busy cooking up ideas for the sequel. And indeed, in contrast to the endless bombast of Zack Snyder’s films, Wonder Woman was a genuine relief this summer.

But here she is – still just trying to get paid precisely what she’s worth. Ever sadder are the comments that follow the story in Deadline; while many are supportive, some are openly sexist, asking why a man shouldn’t take over the job. Good grief! Are we still stuck in the 1950s? Or the 1900s? Hollywood is a bottom line business, and if you deliver the goods – as Patty Jenkins did – you should get paid for it, and not have to haggle with studio bosses for an equitable paycheck.

Let’s hope this is resolved soon, with Jenkins victorious in her quest.

See All The Movies You Want For $10 A Month?

Wednesday, August 16th, 2017

Under a new proposal, you could pay $10 a month, and see a new movie every day.

As Isabel Gottlieb reports in Bloomberg News, under a new scheme proposed by one of the co-founders of Netflix, you could go to the movies every day for a month for just $10. Sound impossible? Maybe it is – but “as movie theaters struggle with tepid sales, Mitch Lowe has an extreme proposal for how to get more people into seats: Let them come to all the showings they want for about the price of a single ticket each month.

Lowe, an early Netflix Inc. executive who now runs a startup called MoviePass, plans to drop the price of the company’s movie ticket subscriptions on Tuesday to $9.95. The fee will let customers get in to one showing every day at any theater in the U.S. that accepts debit cards. MoviePass will pay theaters the full price of each ticket used by subscribers, excluding 3D or Imax screens.

MoviePass could lose a lot of money subsidizing people’s movie habits. So the company also raised cash on Tuesday by selling a majority stake to Helios and Matheson Analytics Inc., a small, publicly traded data firm in New York. The companies declined to comment on terms of the financing but said MoviePass intends to hold an initial public offering by March. Helios and Metheson shares rose 5.7 percent to $2.95 at the close Tuesday in New York.

Ted Farnsworth, chief executive officer at Helios and Matheson, said the goal is to amass a large base of customers and collect data on viewing behaviors. That information could then be used to eventually target advertisements or other marketing materials to subscribers. ‘It’s no different than Facebook or Google,’ Farnsworth said. ‘The more we understand our fans, the more we can target them. . . .’

Lowe, a fixture of the home video business who helped get Netflix off the ground and served as president of rental-kiosk operator Redbox, was named CEO last year. The privately held company declined to disclose subscriber numbers or financial information. Lowe said the data-based business model is still ‘years in the future.’

With the new strategy, MoviePass hopes to resolve what Lowe sees as the biggest factor to blame for the theater industry’s decline. He said the high price of tickets, not competition from Netflix or Amazon.com Inc.’s Prime Video service, is a big part of what’s keeping people away.” Could it work? Well, I know that one of the factors impacting theater going is the price, and I think it’s true that –

“People really do want to go more often,” Lowe said. “They just don’t like the transaction.”

Reset! More Than 990 Posts On This Blog! Back To The Top!

Tuesday, August 15th, 2017

There are more than 990 entries on this blog. Click on the button above to go back to the top.

Frame by Frame began in 2011 with a post on Nicholas Ray – now, with more than 990 posts & much more to come, we’re listed on Amazon, in the New York Times blogroll, and elsewhere on the net, as well as being referenced in Wikipedia and numerous other online journals and reference websites. And this is just the beginning.

With thousands of hits every day, we hope to keep posting new material on films and people in films that matter, as well as on related issues, commercial free, with truly open access, for the entire film community. So look back and see what we’ve been up to, and page through the past to the present.

USE THE SEARCH BOX IN THE UPPER RIGHT HAND CORNER TO CHECK FOR YOUR FAVORITE TOPICS.

There are also more than 70 videos on film history, theory and criticism to check out on the Frame by Frame video blog, arranged in carousel fashion to automatically play one after the other, on everything from Fritz Lang’s Metropolis to film aspect ratios, to discussions of pan and scan, Criterion video discs, deep focus, and a whole lot more.

So go back and see what you’ve been missing – you can always use the search box in the upper right hand corner to see if your favorite film or director is listed, but if not, drop me a line and we’ll see if we can’t do something about it. We’ve just updated our storage space on the blog, so there will be plenty more to come, so check it out – see you at the movies!

Click on the image above & see what else you can find!

Best Story Ever – Robert Forster – “Don’t Quit”

Tuesday, August 8th, 2017

Robert Forster is an excellent actor – but at one point, things looked bleak.

As he points out in the brief interview above, Robert Forster has been an actor working in Los Angeles for nearly 50 years – and he’s still hitting it out of the park. But there was a time in the 80s and 90s when the work wasn’t coming – connections dried up, he was getting lousy parts by his own admission, but he kept going at it everyday to see what he could do to turn things around.

As he tells it, he was sitting in his usual breakfast spot when Quentin Tarantino strolled in for some food. Forster had tried out for Tarantino’s Reservoir Dogs years before – and thought he killed at the audition – but he didn’t get the part. But rather than being bitter, when Tarantino walked in, Forster hailed him as a friend, called him over, and they started chatting.

The end result; he got one of the leading roles in Tarantino’s Jackie Brown, which jump started his whole career again, and led to roles, in among other things, a little television show called Breaking Bad, to say nothing of his recurring role in David Lynch‘s reboot of Twin Peaks. As he put it, the whole thing came about because of three rules he follows:

*Accept all things; that gives you a good attitude;

*Deliver excellence right now; that gives you the best shot at the best future you’ve got coming;

*And never quit; you can win it in the late innings if you don’t quit.

Words to live by; and they certainly work for him!

Movie Theaters’ $1.3 Billion Stock Collapse

Friday, August 4th, 2017

2017 hasn’t been that great for movie box office figures – what does the future hold?

As Anousha Sakoui and Emma Orr report on the Bloomberg News website, “Hope is fading for a feel-good ending at the U.S. box office. After several months of flops like Warner Bros.’ King Arthur and EuropaCorp’s Valerian, movie studios and theaters are beginning to acknowledge that their streak of record-setting ticket sales may be coming to an end. AMC Entertainment Holdings Inc., the world’s biggest cinema chain, laid out a worse-than-projected outlook for the North American box office this week.

That announcement dragged down shares of theater stocks, wiping out $1.3 billion from the value of the top four cinema operators in North America since Aug. 1. Even with a new Star Wars, a Marvel superhero movie and the sequel to Blade Runner on the docket for the holiday season, the box office is unlikely to make up for a ‘severe hit’ in the third quarter, according to Bloomberg Intelligence. To date, receipts are down 2 percent in 2017, and AMC is projecting a 1.5 percent decline for the full year.

The concern is that the slump isn’t just a run of bad luck. Cinema operators have managed for years to keep increasing sales by raising ticket prices amid stagnant attendance, but a sharp drop in film going would make that harder to sustain. And the tried-and-true formula of churning out big-budget sequels and cinematic universes populated with super beings seems to be wearing on film goers. Movies featuring once-reliable draws Jack Sparrow, the Transformers and the Mummy did poorly in the U.S.

Meanwhile, competition is heating up. Netflix Inc. and other digital distributors are creating more original movies, and consumers have more demands on their attention than ever, from Snapchat to YouTube. Further exacerbating the trend, studios are expected to push for a new premium video-on-demand window this year.

It’s possible that Hollywood could reverse the trend next year, when a new movie about Han Solo, an Avengers film, and sequels to Deadpool and Jurassic World are scheduled. ‘This is very typical of the movie business,’ said Paul Sweeney, an analyst at Bloomberg Intelligence. ‘You could make the argument that the slate for next year looks really good, which should grow the market next year in North America. That part’s a cyclical thing, and it’s likely to come back.’

And movie-theater operators Regal Entertainment Group, Cinemark Holdings Inc. and Imax Corp. aren’t facing the same level of pressure as AMC, which is carrying almost $5 billion in debt after expanding its empire to Europe, with acquisitions in the U.K. and Sweden.

Controlled by Chinese billionaire Wang Jianlin’s Dalian Wanda Group Co., AMC has become the poster child for China’s incursion into Hollywood. Concern that Dalian Wanda’s international investments may wane is adding to AMC’s troubles. ‘With China cracking down on funding for AMC’s majority shareholder, Dalian Wanda, the cinema chain faces murky prospects given its high debt level and appetite for global M&A,’ wrote Geetha Ranganathan, a Bloomberg Intelligence analyst.”

Now, it could be that we’re just going through a run of bad films – or it could be, as Sakoui and Orr note, that “the tried-and-true formula of churning out big-budget sequels and cinematic universes populated with super beings seems to be wearing on film goers.” I’d argue it’s the latter, and though a new Star Wars or Marvel film may come along that rocks the box office, eventually this is a formula that’s bound to collapse. The figures above show it – theatrical box office is steadily going down.

But then again, what are the theaters to do? Audiences have been force fed junk for so long that they no longer know what a more thoughtful, challenging film looks like – they wouldn’t know how to approach anything that doesn’t have three act plot format, cardboard cutout characters, and a massive dose of CGI. Can you imagine if Ingmar Bergman’s Persona were released theatrically today? Or Federico Fellini’s La Dolce Vita (which incidentally, holds the record for the biggest box office success for any foreign subtitled film to this day, adjusted for inflation)?

No one would come. Contemporary audiences only want genre films, franchise films, spectacle films, and superhero/heroine films. That’s it. And furthermore, theaters are locked into multi-year contracts stretching into the next decade for upcoming films from Marvel, DC, Disney, Lucasfilm (bearing in mind that Marvel and Lucasfilm are part of Disney) so they have to run their films no matter what.  What are theater owners to do? They could convert their auditoriums into gigantic videogame parlors, with multiplayer games on the screen, but that, too, would eventually fade.

The future is online. The future is streaming. The future is Netflix, Amazon, Hulu and similar companies. The future is people sitting in their living room watching web series, or feature films, on their 50″ plasma, streaming from the web, or cable – if they still live in the dark ages – but the future is not in movie theaters. It costs too much to go out, the prices at the concession stand are out of control (it’s really the only way the multiplexes can make any money), and furthermore, in today’s violent society, theaters are simply not safe. And with Amazon and Netflix making their own features, distributed through their own online network, who needs movie theaters?

The outlook for theatrical exhibition is grim indeed – what can turn it around?

Amazon’s Version of F. Scott Fitzgerald’s The Last Tycoon

Friday, July 28th, 2017

Amazon’s series has little to do with Fitzgerald’s novel, but it’s still compelling television.

I’ve always been a Fitzgerald fan – much more so than Hemingway, and this interesting take on Fitzgerald’s last unfinished novel is several notches above the usual television fare, if only because it tries to do so many things at once – even as it strays almost completely from the original narrative of Fitzgerald’s work.

Monroe Stahr, fashioned after real life MGM boy wonder Irving Thalberg, runs a Hollywood studio in the 1930s with smooth charm and a velvet-gloved fist, while his fellow moguls try to take him down at every opportunity. Kelsey Grammer plays Monroe’s jealous and possessive boss – in real life, Louis B. Mayer at MGM – and is sure that Stahr is going to bolt for a different studio at this first opportunity.

Other than a famous story that Stahr tells a struggling screenwriter about a mysterious woman, a pair of black gloves, and two dimes and a nickel, as well as a house Stahr is building far from the studio as part of a love affair, that’s about all that’s taken from Fitzgerald’s book. It’s also interesting that in the Amazon series, the real Thalberg pops up, working for Louis B. Mayer (a superb Saul Rubinek) as Stahr’s competition, when nothing at all happens like that in the novel.

Add in a raft of new subplots, including the real-life incursion of Nazi censorship in Hollywood in the 1930s in the figure of Georg Gyssling (Michael Siberry), as well as the usual round of studio backstabbing, overnight stardom, insecure directors (the fictional Red Ridingwood [Brian Howe] from the novel, is referenced here, but in the novel he’s a failing hack; here, he’s the equivalent of Michael Curtiz) and refugees from Nazi Germany who find at home at Stahr’s studio.

Kelsey Grammer could have walked through the role of studio boss Pat Brady in his sleep, but instead offers a firm, assured performance – by the end of the series he’s become a real monster – while Matt Bomer as Stahr is definitely less successful, especially in the romantic sequences, and is most effective when he’s wheedling and cajoling his employees through a typical work day.

Real life figures like Fritz Lang (Iddo Goldberg) flit in and out at the edges of the series, while Jennifer Beals offers an exceptionally strong turn as fictional “passing” African-American film star Margo Taft, who is subjected to blackmail by L.B. Mayer when her secret is discovered. Even Marlene Dietrich (Stefanie von Pfetten) stops by for a quick cameo, and the studio itself (the series was shot in Canada) is littered with authentic period equipment.

The show first dropped the pilot in 2016, and offered it as one possible series of many different choices – and the pilot is perhaps the best episode in the entire series, with a great deal of energy and compact exposition – a strong inducement to watch the entire first season. In now-standard fashion, Amazon has dropped the entire first season on Friday July 28th, and by Saturday night, I had watched the complete set of 10 episodes – it’s that effective.

Though it bears little resemblance to Fitzgerald’s work, somehow, in the end, that didn’t really bother me. This is more of a tale of Hollywood intrigue and double dealing in the 1930s, handsomely mounted and efficiently directed by a disparate group of women and men, which more often than not offers real satisfaction and insight – despite Bomer’s stiff performance in the leading role. The show starts off lightly, but that’s just to lure you in.

As the series draws to a close, the show gathers real power – episodes 6-8 are more or less filler – but in the final two hours, The Last Tycoon takes many an unexpected turn, and reveals just how rotten Hollywood really was in the Golden Era, in which people were bought and sold as commodities, blackmail was rampant, and even murders were covered up in the name of “studio business.”

Fitzgerald’s name is tacked on for marquee value, but even though the plot is often far-fetched, the performances at times melodramatic, and the writing uneven, the show offers definite value for money, and the best part of all is that if you are an Amazon Prime member, you can stream the whole series for free. When you add up all the bad and the good, it definitely comes out on the positive side of the ledger.

Check it out – from the pilot to the finish – it’s addictive television.

The Anatomy of Films by John Atkinson

Friday, July 28th, 2017

Here’s a hilarious and all too true overview of filmic clichés from cartoonist John Atkinson.

Wikipedia has a similar list of all-too-frequent movie situations, including “a car fails to start in a time-sensitive situation . . . a character attempts to use a cell phone but finds that there is no reception . . . a character runs from a threat and falls to the ground, without any force present that would impede their balance . . . a character repositions a bathroom mirror, revealing a threat behind them in the reflection . . . a character falls from a dangerously tall height, but survives by landing in a body of water . . . a protagonist who wants to commit one last job in a heist film before he retires from a life of crime” – this last one has been used a lot, especially of late – but John’s cartoon, reprinted here with his kind permission, lays the whole thing out with one sweep, and is more accurate than many would care to admit – especially in the matter of film running times by genre [see extreme right hand column].

Thanks, John – much appreciated!

Steven Spielberg’s “Ready Player One” Is Unbearably Sad

Saturday, July 22nd, 2017

As Aaron Couch wrote in The Hollywood Reporter, this teaser dropped at Comic-Con; click here.

As Couch notes, “It’s game on. Fans got a first look at Steven Spielberg’s anticipated Ready Player One in Hall H on Saturday at Comic-Con [based on the novel of the same name by Ernest Cline]. The footage for the ’80s-themed (but future-set) action adventure debuted during Warner Bros.’ presentation, which included DC films and Blade Runner 2049.

The footage sees star Tye Sheridan as Wade Watts, teenager and gamer on a high-stakes treasure hunt in the all-encompassing video game, Oasis, designed by the nostalgic eccentric James Halliday, played by Spielberg-favorite Mark Rylance. We see the stacks of Ohio, the slum where Wade lives. Trailers are stacked one atop another, sky-high. Inside his trailer, we see Wade put on the Oasis gear, and then he’s transported into the game.

There are flashes of the different environments: a futuristic dance party, Wade hanging out with the Iron Giant (‘The Iron Giant is a real player in this story,’ Spielberg said), Wade racing around in the DeLorean from Back to the Future as he avoids wrecking balls, and fighting Freddie Kruger. We also see the forces of evil, who sit in an office and control avatars in the game, clearly trying to find the treasure before our hero . . .

[Said Spielberg of the film], “what made me want to tell the story more than anything else was the kind of world 2045 gives to people, which is so Dystopian. People are leaving the country and all of a sudden virtual reality gives you a choice, gives you another world to exist in. And you can do anything in that world — anything you can possibly imagine. . . . That interaction between real life and virtual life, by the third act of this movie, is virtually nonexistent.”

You can see for yourself how the frightening the trailer is; Watts lives in a series of stacked trailers in a spawling Hell of the future – born in 2025, but desperately wanting to live in the past. The Oasis supposedly offers him the chance to do that, but of course, it’s just an illusion. There’s no escape – he’s still stuck in a trailer wearing a VR mask.

What strikes me most about this new wave of ultra-synthetic movies is that both audiences and filmmakers seem to have given up on saving the world from ecological disaster, and are instead conditioning viewers – and by extension, society at large – to expect nothing from the future, other than providing VR as a means of escape.

VR is a prison; I wrote an article about it entitled Slaves of Vision, and that’s exactly what it is. VR is the prison of the present, and, if we let it happen, the prison of the future – a hopeless panacea in a world that needs solid answers, not another way of avoiding reality. Spielberg to the contrary, virtual reality does not gives you a choice, does not give you another world to exist in. It’s a place where no one can exist, and nothing really happens.

Again, a quick read of Charles Eric Maine’s prescient novel Escapement (written in 1956) will tell you where all of this is headed; VR as an addiction for people without hope, without prospects, without education, without a real life. There is nothing here of any value – just a fun house full of distorted mirrors, offering momentary respite from non-existence.

And this is the future we want? The future we embrace?

Forgotten African American Women of Early Hollywood

Thursday, July 20th, 2017

Here’s a really important new exhibition at the California African American Museum; above, Iris Hall as Eve Mason in The Symbol of the Unconquered (1920), directed by Oscar Micheaux.

As the notes for exhibition outline, “curated by Tyree Boyd-Pates, History Curator and Program Manager, CAAM, and the Tyree Boyd-Pates, Center Stage [is] an exhibition that considers pioneering African American filmmakers and production companies in the early 20th century that provided African American women the opportunity to participate in front of, and behind, the camera. They challenged disparaging portrayals of black women in Hollywood, and instead conveyed their wit, intelligence, and talent for largely black audiences to admire and emulate. The exhibition runs from June 28 to October 15, 2017.

Produced for American audiences between 1910 and 1950, these motion pictures were commonly called race films. CAAM will screen several rarely seen examples, including Oscar Micheaux‘s Within Our Gates (1920) and The Symbol of the Unconquered (1920), extant clips from Lincoln Picture Company’s The Symbol of the Unconquered (1921, dir. Harry Grant), The Scar of Shame (1929), The Scar of Shame (1941, dir. Spencer Williams), and others. Each film features women protagonists and captures the spirit of entrepreneurship and African American upliftment characteristic of race films from this era.”

As Nadra Nittle adds in an article on the series on the KCET website, “Hollywood has long had a problem with representation and diversity, especially concerning anyone female and nonwhite. In the first half of the 20th century, black women were largely relegated to playing mammy and Jezebel roles. D.W. Griffith’s 1915 Birth of a Nation even depicted African Americans as rapists and imbeciles, leading to a resurgence of the Ku Klux Klan.

The black woman’s unfortunate standing in Hollywood history is why the California African American Museum’s “Center Stage: African American Women in Silent Race Films,” which runs until October 15, is so significant. It reveals how as early as 100 years ago, independent black filmmakers presented complex portrayals of women of color that major studios never fathomed. These silent gems depict black women exploring their religious faith, fighting for the rights of African Americans and in loving relationships. They underscore how even today Hollywood has much ground to cover in its depiction of black women.”

I have been running these films in my classes for years, way back in the 1970s in the 16mm era, when they were first made available in prints from the original 35mm negatives. But with the passing of time, it seems that people forget, and new generations need to be reminded, of the immense value of these works – films, directors, and actors who made an enormous and indelible contribution to the history of the cinema. Not only are these films an essential part of cinema history; they offer an effective antidote to the evils of D.W. Griffith’s ultra-racist Birth of A Nation, which is still being widely screened while these far superior films are neglected. It’s time to change that – forever.

This is an amazing chance to see these key works; don’t miss it if you’re in Los Angeles.

How Are Indie Films Doing These Days? Not So Well . . .

Monday, July 17th, 2017


If you don’t care about the latest Apes movie, how are more thoughtful films doing?

As Tom Brueggemann of Indiewire notes in this perceptive overview of the current field, not all that well. Sofia Coppola’s new rendition of The Beguiled is racking up respectable but not incredible numbers, while as of July 16th the much-heralded film A Ghost Story has grossed just $288,751 in limited release. On the other hand, Eleanor Coppola’s subdued Paris Can Wait has made $5,304,000 in 177 theaters in 10 weeks. But it’s a tough world out there for independent art house films, and most viewers are simply flocking to the franchise films – they’re a sure bet.

The upcoming Blade Runner 2049, which dropped a trailer today, is sure to make money, and War for the Planet of the Apes (is this trip realllllly necessary?) has garnered $102.5 million in the first days of release. Meanwhile, the films that Brueggemann writes about are dying on the vine – they get no publicity and push at all, and so they wind up on streaming – no more DVDs. Try to find these films in a theater near you; unless you’re very lucky, you won’t be able to. I’ve said it before, and I’ll say it again; every one of the films that Brueggemann mentions deserves a real shot at theatrical distribution, with a solid ad budget, rather than vanishing into the mists of the digital domain.

Read Brueggemann’s entire article here; a stark look at the art film today.

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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