Skip Navigation

Frame by Frame

Archive for the ‘Digital Cinema’ Category

Mike Fleming Jr. Interviews Woody Allen in Deadline

Thursday, May 14th, 2015

Mike Fleming Jr. of Deadline just published a fabulous interview with Woody Allen.

Even with his newest film, Irrational Man, at Cannes, Allen despairs of the current state of the movie business, and I must say I agree with him entirely. He has a deal for a series with Amazon, but doesn’t know what to do with it; he seems genuinely unhappy with all his work, and is only now turning to digital with a sort of “meh – why not?” attitude – “digital is really not cheaper and it’s not faster” – and he gets no pleasure from seeing his films – “I hate them all. None are different, and all are…unsatisfying, when you’re finished” – and never goes back to see them again.

But most of all, like all of us who love the cinema, he sees where Hollywood is heading, and he doesn’t like it one bit. Asked what he thought of the way the industry was heading, Allen responded flatly “well, I think it’s terrible. To me, movies are valuable as an art form and as a wonderful means of popular entertainment. But I think movies have gone terribly wrong. It was much healthier when the studios made a hundred films a year instead of a couple, and the big blockbusters for the most part are big time wasters. I don’t see them. I can see what they are: eardrum-busting time wasters.

I think Hollywood has gone in a disastrous path. It’s terrible. The years of cinema that were great were the ’30s, ’40s, not so much the ’50s…but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the ’50s and ’60s and ’70s. Then it started to turn.

Now it’s just a factory product. They can make a billion dollars on a film and spend hundreds of millions making it. They spend more money on the advertising budget of some of those films than all the profits of everything Bergman, Fellini and Bunuel made on all their films put together in their lifetimes. If you took everything that Bergman made in profit, everything Bunuel made and everything that Fellini made in their lifetimes and added it all together, you wouldn’t equal one weekend with the The Avengers and its $185 million to $200 million.

Hollywood is just commerce, and it’s a shame. There are all these wonderfully gifted actors out there that, as you said before, will be in a film of mine for virtually nothing, union minimum, for what you called validation. Really, it’s because they want to work on something that doesn’t insult their intelligence; they don’t want to have to get in to a suit and practice stunts for two months and then do stunts and then… they want to be in something that doesn’t demean their artistic impulses.”

Much more here in Deadline - read the entire interview – it’s essential.

Cannes 2015 – What’s Been Sold, and What’s Still Out There

Thursday, May 14th, 2015

So what’s been sold at Cannes, and what’s left, as of May 14, 2015?

Well, by the time I post this, it will already be outdated, but as of this writing, Ron Howard’s authorized documentary on The Beatles is still up for grabs, but a lot of the top picks have already found a home. As Diane Panosian writes in Studio System News, “there’s a lot buzzing at this year’s Cannes Film Festival that’s running from May 13 through the 24. But the films with flashy premieres at the festival are just the tip of the iceberg, what with the market, Marché du Film, running concurrently and over 5,000 films being offered up to distributors.

Many films have already been scooped up by distributors for a domestic release. Lionsgate picked up the Colin Firth/Nicole Kidman starrer Genius as well as Sicario with Benicio Del Toro and Emily Blunt and the studio is teaming up with Roadside Attractions to distribute the Matthew McConaughey-starring The Sea of Trees. Weinstein will distribute the much talked about lesbian romance film, Carol starring Cate Blanchett and Rooney Mara along with the Robert De Niro Boxing pic, Hands Of Stone. Woody Allen’s Irrational Man and the Hirokazu Kore-eda’s Our Little Sister will be released by Sony Pictures Classic. Fox Searchlight also made a deal for Paolo Sorrentino’s Cannes Competition film Youth [shot in English, with Michael Caine in the lead, always a good sign].

Not to mention Elvis & Nixon and Macbeth have been making waves at the fest, both of which were picked by SSN in our AFM most bankable list. Macbeth will also be distributed domestically by Weinstein. You’ll need to be fast on the trigger, but there are still a lot of titles up for grabs, so SSN is wading through the titles to pick the most bankable out of the lot for U.S. audiences. Since it is Cannes, these won’t be blockbusters, but they also won’t come with a blockbuster price tag. These are the types of indie and mid-budget films that will give investors a solid return on investment and if handled correctly could pick up awards in fall.”

The list of films still available includes A Tale of Love and Darkness, Bleed for This, I Kill Giants, Jackie (starring Natalie Portman as Jacqueline Kennedy), The Lobster, Nocturnal Animals, Maggie’s Plan, The Operators, HHHH and the untitled Ron Howard Beatles documentary. So things are off to a fast start, and there’s still a lot of dealing to be done, but all of this, at least for me, seems to obscure the original purpose of Cannes – to celebrate the very best in international cinema, and sell it at the same time – but now, with theatrical dead, and Netflix swooping in to make deals that cut out theatrical play in return for paying up to 130% of a film’s budget to lock it up for international streaming, many of these films, even if sold, will never really reach a wide audience.

This is the real problem, as I have said so many times before, with the digital era. While it seems that everything is more accessible than ever before, only the most commercial films get a theatrical run, and this attain some visibility, while the rest go straight to VOD and streaming – not even DVD anymore, which is becoming a niche platform. So for all of those at Cannes who are dragging themselves from one screening to another in exhaustion, I have only limited sympathy – at least they get a chance to see some of the most adventurous films being made, screened in a theater as they were meant to be seen, while the rest of us will have to be content with flatscreens and laptops.

Nevertheless, there’s a lot on offer here – and most of it will eventually find a home.

The NBC Nightly News with Lester Holt

Tuesday, May 12th, 2015

Lester Holt should anchor the NBC Nightly News permanently.

He’s more than paid his dues, and he’s a complete professional, putting the news first, delivering it with authority and clarity. And as Jordan Charlton reports in The Wrap, Holt’s killing it in the ratings, beating out the ABC Nightly News with David Muir for the past two weeks. Notes Charlton, “Lester Holt has now won back-to-back weeks in total viewers [for the NBC Nightly News] over ABC’s World News Tonight with David Muir after ABC had won for a month straight.

For the week of May 4, Holt attracted 7,569,000 viewers compared to WNT’s  7,468,000. CBS Evening News with Scott Pelley ranked third with 6,535,000 viewers. David Muir’s ABC broadcast won the ad-coveted 25-54 demo, 1,773,000 viewers vs. 1,732,000 viewers for NBC Nightly News.

Holt’s second victory in a row following a month-long losing streak comes at an important time for NBC as advertising upfronts were held Monday. Those advertisers care more about the 25-54 demo, which Muir has been victorious in eight of the last nine weeks. But NBC leading in total viewers while being within striking distance in the demo week-to-week is a stabilizing image the network will want advertisers to see.”

Exactly – Holt deserves the gig, and he’s delivering audiences.

Interview: Agnès Varda by Violet Lucca

Tuesday, May 12th, 2015

Here’s a fabulous interview with Agnès Varda by Violet Lucca published in Film Comment on May 11, 2015.

As Varda notes, in part, “each film has its history, its beauty or not beauty, and its meaning.  The meaning can change over the years for people who watch the film, because there is a lot of evolution in the sense of history, the sense of understanding.  But when you speak about 35 millimeter or DCP or video, it’s unimportant. The film is what it is, but what is different are the people who made the film.  I change.  I wouldn’t do the same film today about Cuba or about the planters or about women.

Each film has a date glued to it.  And what we try is to overcome the date and make a meaning that can be more than ’62 or ’61 or whatever.  But still, even Cleo from 5 to 7, which deals with a temporal history about being afraid of an illness, being afraid of dying, still has in the film itself a purpose— we include for example the radio broadcasts telling the news of the time. Or in Kung-fu Master!, you have the awareness of AIDS in ’87. I think that we try to escape the limits of history and the time, but still I like to have a point that gives a date to the film, and not make believe that it’s nowhere, no time.”

You can read the rest of this excellent piece by clicking here, or on the image above.

Andrew Wallenstein on The New Video Ecosystem

Saturday, May 9th, 2015

Our viewing habits have changed dramatically, as Andrew Wallenstein notes in Variety.

As he writes, “watching TV used to be so simple, or at least it seems that way in retrospect. First there were just a handful of networks. Then broadcast TV gave way to cable. But even as the number of channels multiplied exponentially, it was all still easy to understand, not to mention incredibly profitable: The combination of advertising and affiliate fees delivered approximately $90 billion annually to a small group of content companies.

That was then, this is now: Advertising revenues and multichannel subscriptions are endangered by significant ratings declines across the cable TV landscape as audiences — particularly younger viewers — get bombarded by a dizzying array of cheaper programming choices delivered over the Internet. Some, like Netflix, charge viewers a monthly fee; others, like many of the ventures pitching advertisers at this week’s NewFronts presentations in New York, are as free as broadcast television.

Many of these ventures are backed by the biggest companies in the tech sector. Which isn’t to say the incumbent entertainment conglomerates are simply sitting on the sidelines while the challengers eat their lunch. To the contrary, Hollywood’s participation in the likes of Sling TV and HBO Now is something akin to baby Kal-El launching out of planet Krypton in Superman: A culture facing the threat of extinction is seeking to find life for itself elsewhere in the solar system.”

A fascinating article, with superb graphics and excellent detail – click here, or above to read it all.

Agnès Varda To Receive Honorary Palme d’Or at Cannes

Saturday, May 9th, 2015

Agnès Varda, here seen shooting The Gleaners and I, will be awarded an Honorary Palme d’Or at Cannes.

As Kinsey Lowe reports in the always-reliable online journal Deadline, “Agnès Varda will be honored for the body of her work at the closing ceremony of this year’s Cannes Film Festival. She’s the first woman selected for this distinction. Only three other directors — Woody Allen, Clint Eastwood and Bernardo Bertolucci — have been recognized in this way for the global impact of their body of work.

From her first film, La Pointe Courte in 1954, Varda’s style reflected elements of what would become the French New Wave although because she preceded that movement her work is more Left Bank in style. Her next feature, Cleo From 5 To 7, was a documentary style look at a singer awaiting results of a biopsy, which foreshadowed Varda’s fascination with human mortality. Her films also tended to focus on women and her subsequent film Vagabond [1985] examined the investigation of the death of a female drifter.

She married film director Jacques Demy in 1962 and after his death in 1990, she made Jacquot de Nantes, about his life and death. In 2000, she used a digital camera to make The Gleaners and I [see still above]. Her 2008 autobiographical work Les plages d’Agnès picked up France’s the César for best documentary. A well-rounded and multifaceted artist, she started out as a photographer. The Los Angeles County Museum of Art held an exhibition entitled Agnes Varda in Californialand in 2013. The show was a sort of reflection of the time Varda spent in Los Angeles in the ’60s and included sculpture, photographs and short films.”

This is an honor that is more than overdue – congratulations to the foremother of the New Wave.

“Fans Don’t Want Change – They Want The Illusion of Change”

Monday, May 4th, 2015

Graeme McMillan, writing in the May 3, 2015 issue of The Hollywood Reporter, has these thoughts.

As McMillan writes, “Throughout Age of Ultron, the specter of death looms heavily. Characters repeatedly tell each other that it’s unlikely that they’re going to make it through what’s happening alive, and Hawkeye practically gets awarded the Most Likely to Die prize when his wife tells him that she just wants him to come home alive, damn it, right before the final showdown . . . it should, by all rights, be something that makes the final battle feel even more dangerous, with everything up for grabs. But the very nature of the Marvel Cinematic Universe undercuts the tension entirely.

After all, the audience knows that none of the big name characters are going to die [emphasis added]. Most of them are already announced to appear in next year’s Captain America: Civil War, or subsequent movies down the line (Thor: Ragnarok, for example, if not Avengers: Infinity War). Along the same lines, the very existence of those movies means that there’s never any possibility of Ultron’s plan succeeding even a little bit . . .

I’m reminded of a line often attributed to Stan Lee, when talking about what comic book fans look for in stories. Reportedly, as the common wisdom goes, he explained that fans don’t want change; they want the illusion of change [emphasis added].

It’s an attitude that makes sense, as much as it seems dispiriting to hear. With the many moving parts of the Marvel comic book universe, in which multiple series are published simultaneously, many of them sharing concepts if not characters, there needs to be a default status quo to which characters return to allow the toys to be used by as many creators as necessary at any given point. The same, it seems, is starting to become true of the Marvel Cinematic Universe.

In a way, it was unavoidable; there are only so many stories you can tell in a shared universe before they start, if not contradicting, then at least overlapping each other. When you promote, as Marvel has, the interrelatedness of your stories (‘It’s all connected,’ as the tagline goes), that’s a selling point, instead of a bug — until the existence of those other stories starts limiting what you can achieve with each individual movie or television series.

The question then becomes, at what point does your audience realize that you’re standing in place in terms of narrative momentum, and are you doing so in such an entertaining way that they don’t care?”

Fascinating stuff – read the whole story by clicking here, or on the image above.

68th Cannes Festival 2015 – The Final Film Line Up

Thursday, April 30th, 2015

Here’s the final line up of films for the upcoming Cannes Film Festival, as reported in The Guardian:

Opening Night Film

La Tête Haute (Emmanuelle Bercot, France)

Closing Night Film

La Glace et le Ciel (Luc Jacquet, France)

In Competition

The Assassin (Hou Hsiao-hsien, Taiwan)

Carol (Todd Haynes, US-UK)

Cronic (Michel Franco, Mexico)

Erran (Jacques Audiard, France)

The Lobster (Yorgos Lanthimos, Greece-UK-Ireland-Netherlands-France)

Our Little Sister (Hirokazu Kore-eda, Japan)

Louder Than Bombs (Joachim Trier, Norway-France-Denmark)

Macbeth (Justin Kurzel, UK-France-US)

Marguerite and Julien (Valerie Donzelli, France)

Mon Roi (Maiwenn, France)

Mountains May Depart (Jia Zhangke, China-Japan-France)

My Mother (Nanni Moretti)

The Sea of Trees (Gus Van Sant, US)

Sicario (Denis Villeneuve, US)

A Simple Man (Stephane Brize, France)

Son of Saul (Laszlo Nemes, Hungary)

The Tale of Tales (Matteo Garrone, Italy-France-UK)

The Valley of Love (Guillaume Nicloux, France)

Youth (Paolo Sorrentino, Italy-France-Switzerland-UK)

Out of Competition

Inside Out (Pete Docter, Ronaldo Del Carmen)

Irrational Man (Woody Allen, US)

The Little Prince (Mark Osborne)

Mad Max: Fury Road (George Miller, US)

Alias Maria (José Luis Rugeles Gracia)

AN (Naomi Kawase)

Cemetery of Splendour (Apichatpong Weerasethakul)

The Chosen Ones (David Pablos)

Fly Away Solo (Neeraj Ghaywan)

The Fourth Direction (Gurvinder Singh)

The High Sun (Dalibor Matanic)

I Am a Soldier (Laurent Lariviere)

Journey to the Shore (Kiyoshi Kurosawa)

Lamb (Yared Zeleke)

Madonna (Shin Suwon)

Maryland (Alice Winocour)

Nahid (Ida Panahandeh)

One Floor Below (Radu Muntean)

The Other Side (Roberto Minervini)

Rams (Grimur Hakonarson)

The Shameless (Oh Seung-uk)

Taklub (Brillante Mendoza)

The Treasure (Corneliu Porumboiu)

Midnight Screenings

Amy (Asif Kapadia, UK)

Office (Hong Won-chan, South Korea)

Love (Gaspar Noé, Argentina)

Special Screenings

Amnesia (Barbet Schroeder)

Asphalte (Samuel Benchetrit)

L’esprit de l’escalier (Pabla Lucavic)

Hayored lema’ala (Elad Keidan)

Oka (Souleymane Cisse)

Panama (Pavle Vuckovic)

A Tale of Love and Darkness (Natalie Portman)

Critics’ Week Competition

Dégradé (dir: Arab and Tarzan, Palestine)

Krisha (dir: Trey Edward Shults, US)

Mediterranea (Jonas Carpignano, US/Italy)

Ni le Ciel, Ni la Terre (Clement Cogitore, France)

Paulina (Santiago Mitre, Argentina)

Sleeping Giant (Andrew Cividino, Canada)

La Tierra y la Sombra (Cesar Acevedo, Colombia)

Special Screenings

Opening film: The Anarchists (Elie Wajeman, France)

Les Deux Amis (Louis Garrel, France)

Une Histoire de Fou (Robert Guédiguian, France)

Closing film: La Vie en Grand (Mathieu Vadepied, France)

Directors’ Fortnight

Opening film: In the Shadow of Women (Philippe Garrel, France)

Allende, Mi Abuelo Allende (Marcia Tambutti, Chile)

Arabian Nights (Miguel Gomes, Portugal)

The Brand New Testament (Jaco Van Dormael, Belgium)

The Cowboys (Thomas Bidegain, France)

Embrace of the Serpent (Ciro Guerra, Colombia)

Fatima (Philippe Faucon, France)

My Golden Years (Arnaud Desplechin, France)

Green Room (Jeremy Saulnier, US)

The Here After (Magnus von Horn, France)

Much Loved (Nabil Ayouch, Morocco)

Mustang (Deniz Gamze Erguven, France)

Peace to Us in Our Dreams (Sharunas Bartas, Lithuania)

A Perfect Day (Fernando Leon de Aranoa, Spain)

Songs My Brothers Taught Me (Chloe Zhao, US)

Special screening: Yakuza Apocalypse: The Great War of the Underworld (Takashi Miike, Japan)

Closing film: Dope (Rick Famuyiwa, US)

An eclectic line-up, dominated by French cinema, but with a very interesting jury – Joel & Ethan Coen – Presidents; Rossy de Palma (Actress – Spain); Sophie Marceau (Actress, Director – France); Sienna Miller (Actress – United Kingdom); Rokia Traoré (Composer, Singer-songwriter – Mali); Guillermo del Toro (Director, Writer, Producer – Mexico); Xavier Dolan (Director, Writer, Producer, Actor – Canada); and Jake Gyllenhaal (Actor – United States).

The only thing that’s sad here is that most of these films will never make it into general distribution around the world, with the obvious exception of things like George Miller’s Mad Max reboot; the rest will be seen and savored by a select few, while the rest of the world will have to settle for Paul Blart: Mall Cop 2 or The Avengers: Age of Ultron. As far as most of the world is concerned, the films in the list above might just as well not exist, simply because they’ll never get the distribution they need.

This is one of the major problems of the digital universe; these excellent films are essentially being shuttled off to oblivion, and of all the films listed here, perhaps two or three will make their money back.

And, of course, this is just the line-up; beyond this, all the backstairs wheeling and dealing that goes on will determine the future of international cinema, especially Hollywood cinema, as deals are cut for and endless series of franchises, reboots, sequels, and prequels.

“You Plan Around The Marvel Responsibilities – You Have To.”

Tuesday, April 28th, 2015

Seems like we’re going to be subjected to a seemingly endless series of movies from the “Marvel Universe.”

As Matt Goldberg reports in Collider, “there’s no rest for a weary superhero. Chris Evans is out promoting Avengers: Age of Ultron, and very soon he’ll be suiting up again to start filming on Captain America: Civil War. Evans spoke to Esquire about his upcoming shooting schedule and says that filming on Civil War will go until about ‘August or September’, which is the usual shoot time for a major blockbuster film.

However, because he’s on a Marvel contract and Marvel has release dates for all of its Phase Three movies, Evans also knows that he’ll be needed for Avengers: Infinity War, which will be two films shot back to back. Evans tells Esquire that he thinks filming begins in either fall or winter 2016 and, ‘That’s going to be like nine months to shoot both movies back to back.’

The lengthy production schedule isn’t too much of a surprise, and I’m curious to see how many other MCU actors will have to adhere to it. So many actors are getting sucked into the MCU, so how many of them will be spending the larger part of a year working on these two movies? Evans doesn’t sound bummed by the prospect, and just accepts it as part of his working schedule. ‘You know, you plan around the Marvel responsibilities,’ says Evans. ‘You have to.’

Avengers: Infinity War – Part 1 will be released on May 4, 2018, and Avengers: Infinity War – Part 2 will open on May 3, 2019. Captain America: The Winter Soldier screenwriters Christopher Markus and Stephen McFeely will pen the script and Joe and Anthony Russo will direct.” [Upcoming Marvel titles now in development include, with release dates;]

  • Avengers: Age of Ultron – May 1, 2015
  • Ant-Man – July 17, 2015
  • Captain America: Civil War – May 6, 2016
  • Doctor Strange - November 6, 2016
  • Guardians of the Galaxy 2 – May 5, 2017
  • Spider-Man Reboot – July 28, 2017
  • Thor: Ragnarok – November 3, 2017
  • Avengers: Infinity War – Part 1 – May 4, 2018
  • Black Panther – July 6, 2018
  • Captain Marvel – November 2, 2018
  • Avengers: Infinity War – Part 2 – May 3, 2019
  • Inhumans – July 12, 2019

It looks like we live in Marvel universe, for better or worse.

The New Audience: Moviegoing in a Connected World

Sunday, April 26th, 2015

The Academy is also running this interesting evening on May 12, 2015, on the future of cinema in the digital era.

As the program notes explain, “The Academy looks at the past, present and especially the future of moviegoing in this discussion moderated by Krista Smith, Vanity Fair’s executive West Coast editor.  Oscar-nominated producer and Academy member Michael Shamberg conceived and helped shape the program in consultation with the Academy.

Just as the television boom of the 1950s inspired filmmakers to expand the size and shape of the movie screen, today’s filmmakers and studios want to take advantage of the wide variety of platforms on which contemporary audiences view films.

Everything from portable devices to streaming videos competes with the traditional movie theater as the preferred ways to watch films for much of the current generation. The evening will include notable media-savvy contributors who will first offer their unique perspectives on the topic and then participate in a panel discussion moderated by Smith.

Professor Henry Jenkins, the Provost’s Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California, will discuss key historic shifts in motion picture viewing and fandom, describing how our social experiences in and around cinema have shifted over time, and what they look like in today’s networked era.

The president of BuzzFeed Motion Pictures and web pioneer Ze Frank will compare the way today’s digitally oriented audiences relate to content with the more traditional relationship between moviegoers and the theatrical experience.

Team Oscar winner Tayo Amos will speak about what it means to grow up as a digital native filmmaker and media consumer in the world of social media, and explain how social media and the Internet are changing storytelling for her generation.

The final speaker will be Oscar-winning filmmaker John Lasseter, the chief creative officer of Walt Disney and Pixar Animation Studios and principal creative advisor for Walt Disney Imagineering. The evening will also include archival footage, courtesy of the Academy Film Archive, showcasing early audiences interacting with movies and a look at past predictions of moviegoing in the 21st century.

Again, admission is just $5, and this promises to be an informative and deeply interesting evening.

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 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. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or wheelerwinstondixon.com

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/