Skip Navigation

Frame by Frame

Archive for the ‘Inside Stuff’ Category

DP Jeff Cronenweth on Film vs. Digital

Saturday, October 4th, 2014

DP Jeff Cronenweth has these thoughts on working with film vs. digital cinematography.

As he told Paula Bernstein during an interview in Indiewire, “there is still something inherently magical about shooting on film, and to some degree, it’s mysterious and you get to be the wizard behind the curtain that makes everything happen, which I kind of love. But also, with digital photography, you’ve eliminated some of the things that could become problematic, both photochemically and technically in labs with scratches and all kinds of mysterious things that can arise. There’s not many surprises with digital, but there’s more risks you can take. You certainly sleep better at night because you don’t have to wake up at 4 am and call the lab to see if there’s still a job for you to do that day. But that doesn’t mean it’s any less work, you still have to put the lights in the right places and you still have to make good choices and fight continuity along scenes.

You have to be a smart filmmaker either way. It’s opened the door a lot in that it allows directors to work longer with the performance, you can get actors into a routine and force things out of them in a way. You watch David and after four takes in a row it sort of breaks the mold and you get something new out of what might otherwise be a safe performance. That’s really magical. I like the fact that you ultimately have more control. Back in the day you spent so much time, down to the tenth of the stock, in order to expose something, and there were all the lenses coming with it, be it Panavision or Arriflex. You’d go to the lab and they would try and get as close as they can, but then you’d walk into one theater and it’d be green, and then in another theater it’d look blue, so all of that work seemed to disappear when you finally got to the presentation.

Now, everywhere you go with digital, it all looks the same, which is somewhat comforting. You’ve given up a little magic, and you’ve given up a little texture, but you can work on that. There’s ways of making a lot of that come back if you have enough time. And there’s still piracy and environmental concerns, given the prints and chemicals, but that’s just the evolution of cinema. There’s still a lot to be discovered and it’s still super open, which is kind of what the industry has always done.”

You can read the entire interview by clicking here, or on the image above.

Netflix Steps Into Feature Films

Friday, October 3rd, 2014

Netflix plans to make feature films that bypass traditional theatrical exhibition entirely.

As Gregg Kilday writes in The Hollywood Reporter, “Netflix chief content officer Ted Sarandos shook up the Hollywood status quo twice this week with a couple of announcements signaling that the streaming video service is out to up-end the existing movie business just as it’s challenged the television industry. On Sept. 29, he announced a deal with the Weinstein Co. to finance the sequel Crouching Tiger, Hidden Dragon: The Green Legend, which will premiere on Netflix and in Imax theaters on Aug. 28. In a backlash from theater owners, exhibition giants Regal, AMC Theatres and Cinemark said they wouldn’t show the film on their own Imax screens.

Then, the following day, Sarandos announced an even more ambitious pact:  a deal to make four movies starring and produced by Adam Sandler (who also retains a non-exclusive, first-look deal at Sony). All four movies will debut exclusively on Netflix. Having dropped those two bombshells, Sarandos explains how Netflix’s growing global imprint has influenced the decision to begin producing original movies, why Sandler was willing to forego theatrical releases for the films and how exhibitors, resisting change, have all reacted ‘in lockstep.’”

This is a real game changer – you can read the entire story by clicking here, or on the image above.

Creative Tips from Legendary Directors

Friday, October 3rd, 2014

The website Film School Rejects has an excellent series of “tips” on the creative process in cinema.

Landon Palmer and Scott Beggs of the website Film School Rejects have assembled an excellent series of maxims and advice from key filmmakers around the world; everyone from David Lynch to Shirley Clarke to William Greaves to James Gunn to Jim Jarmusch to Alain Resnais to Abbas Kiarostami and all the stops inbetween, and archived it here – at this website. This is a really valuable resource not only for filmmakers, but also for those who want to understand the creative process in filmmaking, as outlined by the top practitioners, past and present, in the field. If there’s one theme running through all these condensed interviews, it’s to be true to yourself. As David Lynch put it, “there were very bad reviews [of Twin Peaks: Fire Walk with Me]. I was under a bad cloud during that time and it just didn’t go well. But I loved the film and when you do something you believe in and it doesn’t go well it’s okay. If you sell out like I did in Dune and it doesn’t go, well, then you really die.”

Lots of food for thought here; click here, or on the image above, to read more.

The Oldest Single Screen Movie House in New Orleans

Sunday, September 28th, 2014

René Brunet, at 93, runs the extremely successful Prytania movie theater in New Orleans.

As Matt Higgins reports, “it may seem incongruous that a one-screen neighborhood movie theater is thriving in the multiplex era. Or that a 93-year-old is still in charge of the place. But the 100-year-old Prytania Theater and its nonagenarian owner, Rene Brunet, seem happy enough as exceptions to the rules. Since 1996, Brunet and his son Robert have kept the Prytania in business at Prytania and Leontine streets with a canny mix of low-cost, throwback movie selections and cutting-edge technology.

In one sense, it’s a reminder of a time when dozens of similar theaters operated all over New Orleans — and every other U.S. city. Yet in other ways, the Prytania feels right at home in 2014, an era when young college graduates are leaving suburbs for cities and ‘walkability’ has become a watchword of urban development.

In fact, while it may be too soon to declare a revival of the neighborhood theater, at least one would-be imitator may appear soon, with a historic building in the 600 block of North Broad Street slated to be converted into a four-screen theater in the coming months. Robert Brunet admits he was against his father buying the Prytania, which he reopened in 1997 just a month before the AMC Palace opened in Elmwood with 20 screens. ‘We struggled in the beginning,’ he said, ‘but my dad’s passion was the single-screen theater. He grew up in it.’

Which is not to say the Brunets are strictly about nostalgia. In 2006, they invested $850,000 in a major renovation, installing the equipment necessary to show digital movies rather than film. In fact, Brunet claims the Prytania was the first theater in New Orleans to do so. Industry experts like Wheeler Winston Dixon, a professor of film studies at the University of Nebraska, say there is really no way to continue operating at this point without having made that transition. Studios no longer even provide new movies in any other format. ‘Film is dead,’ he said. ‘It’s digital all the way.’

Older films, combined with new releases and selections with a local flavor, such as The Curious Case of Benjamin Button and Beasts of the Southern Wild, attract an audience that a multiple-screen suburban theater would not, the Prytania’s owners say. ‘We cater to our neighborhood,’ Brunet said. ‘Our films are similar to Uptown. It’s a good cross-section.’ And then there are the less-tangible things about the place that let you know you’re in New Orleans. ‘Here, you can come five minutes late,’ he said. ‘You can walk in with a cocktail, and we’re not going to throw you out. It truly is a neighborhood experience.’”

See? If you do right, you can still fill the house night after night – thank goodness!

John Carpenter Interview in Vulture

Friday, September 26th, 2014

John Carpenter (left) on the set of The Thing in 1981.

Vulture has a great interview with director John Carpenter conducted by Simon Abrams, who notes that “horror filmmaker John Carpenter’s body of work is atypical in that his films often seem to have been made by an uncompromisingly intuitive commercial artist. Never content just to take a check, Carpenter abandoned the Halloween franchise after co-writing and producing the series’ first two unsuccessful sequels and took on bold projects, such as Big Trouble in Little China and Prince of Darkness that suggested he knew how to make movies without giving in to creative pressure to make palatable pablum. Vulture talked to Carpenter about how he resolved key conflicts on projects that defined his career, particularly The Thing, his Halloween sequels, and others.”

You can read the entire interview by clicking here, or on the image above.

Atom Egoyan’s Chloe

Friday, September 26th, 2014

Atom Egoyan’s Chloe is a remake of a film by Anne Fontaine; in many ways, it’s much better than the original.

As Egoyan notes of the overall theme of the film, “First and foremost, Chloe deals with the nature of intimacy. But I think the film is ultimately about what we look for in a relationship – to see someone else as we would like ourselves to be seen, and the idea of protecting someone else’s right to be alone, or to protect solitude. As Rilke wrote, it is one’s role as a partner to protect the other’s solitude, and yet there’s this balance between doing that and losing someone. That to me is what the film is about – how to be allowed to imagine ourselves and integrate that into a relationship.

In any love relationship, you have to protect yourself, but it you’re not aware of the explicit agenda of the other person, the skew can become really dangerous, even explosive. This is the terrain the film deals with – how to be allowed to imagine ourselves and integrate that in a relationship. And in some ways, the film is about the necessity and danger of creative interpretation of the self. Ultimately, we all need to believe in certain stories or narratives about ourselves. We all need to feel we have some control over how that narrative evolves. However, we have no control over the variables we can’t anticipate – all of the other emotional factors that come into play.

There’s always a variable when dealing with human beings. We are incredibly complex sensitive souls, and no matter how you think a relationship is defined by parameters, those can always evolve, so we need to be invested in other people. We need to fall in love and we need to go to those places, but we also need to equip ourselves in understanding how fragile other people are. If we don’t, there’s bound to be consequences.”

You can read more about this interesting, often unsettling film by clicking here.

Joseph Lawson, Genre Director – An Interview

Monday, September 22nd, 2014

I have an interview out this morning with Joseph Lawson, director of the forthcoming film Ardennes Fury.

As I note in my introduction to the interview, “Joseph Lawson is an American filmmaker who is an unabashed special effects fan, action movie enthusiast, and utterly pragmatic about how films get made today in a rapaciously competitive environment. He’s a commercial filmmaker, working in Hollywood, making films as entertainment. Along the way, he’s getting more and more of his own vision into his work, even as he struggles against tight deadlines and tighter budgets.

We first made contact when I wrote an article for Film International that was sharply critical of The Asylum, the company Lawson works for. Lawson responded in the comments section without the slightest bit of rancor, and suggested that we correspond about the production of his latest film, just wrapped a few days ago, Ardennes Fury. It’s his fifth film as a director.

Yes, Ardennes Fury is indebted to David Ayers’ big budget film Fury coming out later this Fall from Columbia Pictures; yes, you could call this another “tie-in” film from The Asylum, but at the same time, Lawson is absolutely sincere about what he’s doing, and all that the films really share is a similar title; they’re really two absolutely different projects.

Like American International Pictures in the 1950s and 60s, The Asylum makes commercial films for a price, and as Lawson makes clear, they don’t use interns or students – they just can’t stand the pace at the studio. Like it or not, The Asylum has a vision all its own. So what’s it like to make films in the Hollywood trenches today? Here’s a chance to find out, first hand.”

You can read the entire interview by clicking here, or on the image above.

The Most Prolific Director in American Film History

Thursday, September 18th, 2014

This unassuming man made more films during the classical Hollywood era than any other director.

As I wrote about Sam Newfield a number of years ago in Senses of Cinema, “Sam Newfield is, in all probability, the most prolific director in American sound-film history, but very little archival material survives on his career. The director of more than 250 feature films, as well as numerous shorts and television series episodes, in a career that spanned four decades, from 1923 to 1958, Newfield leaves behind him only his work on the set; next to nothing is known of his personal life. However, using conversations with Sigmund Neufeld, Jr., and Stanley Neufeld, the sons of Sam Newfield (born Neufeld)’s brother Sigmund Neufeld (all quotes from them in this essay are from these interviews), as well as materials from the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences in Los Angeles, I was able to piece together a rough sketch of the man behind such a torrential output of work.

Comedies, musicals, westerns, horror films, jungle pictures, crime dramas, espionage thrillers – Sam Newfield did them all, often on budgets of less than $20,000 per feature, and shooting schedules of as little as three days. But, as Martin Scorsese notes, watching Newfield’s work is hard, because he often seems absolutely detached from the images that appear on the screen, as if he is an observer rather than a participant. Then, too, the conditions of extreme economy that Newfield labored under created a pressure-cooker environment in which the ultimate goal of all his films was simply to get them done on time and under budget. Nevertheless, as arguably the most prolific auteur in American motion-picture history, Newfield deserves mention and brief examination as one of the key ’second-rung’ directors of 1940s Hollywood, Newfield’s most productive era.”

Since then, Neil Roughley has compiled a staggeringly complete filmography; check it out here.

Howard Hawks’ Land of the Pharaohs (1955)

Tuesday, September 16th, 2014

Howard Hawks directs Land of the Pharaohs on location in Egypt, 1955.

Land of the Pharaohs was Howard Hawks’ most ambitiously spectacular film, even if he did bring it in with a tight 55 day shooting schedule at a cost of only $3.15 million, still about a million over budget. Yet this truly lavish film, which might seem on the surface to have much in common with such other 1950s spectacles as The Robe, Ben Hur, and other equally oversize films – right down to the aspect ratio in which the film was shot, CinemaScope – was a resounding failure at the box office – the only Hawks film ever to lose money, despite a script that was principally authored by Hawks’ old pal, William Faulkner.

When asked by Cahiers du Cinema why he made the film in the first place, Hawks replied simply “CinemaScope” – he wanted a chance to work in the widescreen format on a suitably ambitious project. But in its tale of the ancient Pharaoh Khufu (Jack Hawkins), who is obsessed with building a pyramid tomb that is “robber proof” from the outset of the narrative, just one theme hangs over the film; death, and the uncertainty of what awaits one in the next world, if there is one.

To achieve this, Khufu enlists a captive slave, Vashtar (James Robertson Justice) to build a tomb whose design is so ingenious that no one can possibly break in. Vashtar, in return for the freedom of his people once the task is accomplished, creates such a design, which closes in on itself when a series of clay jars filled with sand are broken, moving huge stone blocks to seal the pyramid for eternity. Khufu approves the design, and the work gets underway, but as the years pass, Khufu becomes are even more obsessed, more brutal, and more ruthless in his quest for gold, so that the pyramid becomes not only a monument to his life, but also to the boundless greed that has informed it.

Hawkins struts about with the proper degree of arrogance and pomp as Khufu, and Joan Collins is remarkably good as the nefarious Princess Nellifer, who plots to kill Khufu’s first wife and her son so that she can ascend to the throne. But her plans come to naught as, with Khufu’s death, she is buried alive – much to her surprise – along with Khufu’s willing servants in a gigantic pyramid that is indeed “robber proof,” from which there is no possible means of escape.

Why was the film a failure? Hawks put it down to a lack of a “star” cast, and the fact that “I don’t know how a Pharaoh talks. And Faulkner didn’t know. None of us knew. We thought it’d be an interesting story, the building of a pyramid, but then we had to have a plot, and we didn’t really feel close to any of it,” but there’s more to it than that. Of all of Hawks’ films, this is easily the most despairing, and in the end, there’s no character that inspires even a vestige of sympathy, and the film’s penultimate shot; the pyramid, sealed, sitting silently atop the sand, where tens of thousands of slaves had once toiled night and day to build it, is both chilling and distancing.

I admire the film tremendously, just as I admire most of Hawks’ work, especially when one considers his effortlessly multi-genre career, encompassing everything from His Girl Friday to Red River to the unsigned The Thing From Another World to The Big Sleep and numerous stops in-between. But Land of The Pharaohs offers such a bleak vision of human existence that audiences of the time simply couldn’t relate to it, and yet it retains much of its power today, and stands as a unique accomplishment in Hawks’ long career.

But Hawks knew, however, that as a commercial filmmaker he had failed. As a result, he wandered through Europe for the next four years, uncertain as to his next film, or the direction his career was taking, until he teamed with John Wayne on a traditional western – a genre he knew well – for Rio Bravo in 1959. But Rio Bravo, despite its enormous critical reputation, is really a film that takes very few risks. In Land of the Pharaohs, nothing is certain, especially life after death, which is more than a little ironic since the entire film is concerned with preparing, in essence, for a funeral.

In one telling exchange, Khufu tells Vashtar that if he builds the pyramid for him, he will have to kill him to ensure that the secret of the tomb’s construction dies with him; but that as a reward, Vashtar may also build an equally ornate pyramid for himself, stocked with food, jewels and gold so that Vashtar can enjoy the afterlife in equally luxurious fashion as Khufu is sure that he will. Vashtar replies that he has no belief in life after death, and instead bargains – successfully – for the lives of his people now, and in the end, it’s only the slaves who survive after years of privation, while the wealthy perish in an air tight tomb.

Such a film can’t hope to catch fire with the public imagination, but it’s a nihilist masterpiece nonetheless.

Bring Me The Head of Alfredo Garcia

Sunday, September 14th, 2014

I’ve just published an article on Bring Me The Head of Alfredo Garcia in Senses of Cinema.

The essay is a part of a preview of three pieces on Peckinpah for Senses of Cinema Issue 72, and as I note in my piece on this film,Bring Me the Head of Alfredo Garcia (1974) is easily Peckinpah’s bleakest, most brutal film, and that in itself is saying something. It’s also a film that seems almost willfully self-destructive, inasmuch as it is completely uncompromising in its vision of an utterly amoral and violent world. Peckinpah was just coming off the failure of Pat Garrett & Billy the Kid (1973), which despite the ’stunt’ casting of Bob Dylan, a number of impressive performances and some bravura sequences showcasing the director’s trademark bloodshed, had performed poorly at the box office.

In this atmosphere of professional uncertainty, pursuing a project like Bring Me the Head of Alfredo Garcia was hardly designed to restart one’s career. Yet, as many of his closest associates were convinced, it was only with this film, and the later Cross of Iron (1977), that Peckinpah had what amounted to final cut; a degree of control over the final film, for better or worse, that had eluded him throughout much of his career. Even The Wild Bunch (1969), Peckinpah’s most famous film, suffered extensive cuts and re-edits before it went into general release. People always seemed to be trying to rein Peckinpah in, and he didn’t appreciate it one bit.

Peckinpah was never chasing a ‘hit film.’ He wanted to put his personal vision on screen, no matter the consequences. And so, despite the slapdash execution of Bring Me the Head of Alfredo Garcia, and the unremitting savagery of the production’s script, which had been in development since 1972, when ‘Bloody’ Sam was still a hot commodity, Bring Me the Head of Alfredo Garcia was the film – or one of the films – that Peckinpah truly wanted to make, and despite the almost universally hostile reception it received, he never wavered from defending the finished product. ‘I did Alfredo Garcia,’ he said later, ‘and I did exactly what I wanted to, good or bad, like it or not. That was my film.’”

You can read the entire essay by clicking here, or on the image above.

About the Author

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 numerous books and more than 70 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. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

RSS Frame By Frame Videos

  • War Movies
    UNL Film Studies professor Wheeler Winston Dixon at one of the earliestand most enduring film genres, the war movie. […]
  • Frame By Frame - Hollywood Composers
    UNL Film Studies professor Wheeler Winston Dixon highlights the most prolific Hollywood film composers. […]

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/