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Dennis Coleman’s Hollywood Interview Tips

Monday, November 9th, 2015

Dennis Coleman, Ernest Borgnine and Leonard Maltin in Hollywood.

I’ve known Dennis Coleman for a long time, and for many years now, he’s been working in Hollywood doing celebrity interviews for such shows as Entertainment Tonight, Lifetstyles of the Rich and Famous, and numerous other show business programs.

As Richard Botto notes on his Stage 32 blog, ”Dennis is a writer, producer and director with decades of experience in broadcast television and feature films. Having conducted over 10,000 celebrity interviews in his career, I think it’s safe to say that Dennis knows a thing or two about the interview process. Whether you’re conducting an interview for a documentary, research, a host or for other film related endeavors, you won’t find better tips than those below.”

That said, here’s a brief sample of Dennis’ advice:


Find out everything you can about the person you’re going to interview. Not just their IMDB bio or their Wikipedia entry: everything. Find print interviews with them, look at video interviews with them on Youtube. See what they respond to – and what questions they hate.

What did they study in school? What kinds of jobs did they have early in their career? What do their brothers and sisters do? What do their mothers and fathers do? Any or all of this could come up in the interview and you have to be prepared to follow up.


I work primarily in entertainment news. So I read all the sites:,, I also keep up on the gossip sites: and You have to know what’s going on at all times. Because you may suddenly be in a situation where you need to know the latest breaking news.

A few weeks ago I was sent at the last minute to follow Donald Trump around Iowa. No time to read anything. But since I watch the news and I’m a political junkie, I knew all the latest information, all the latest speeches, all the latest trivia. So I could ask intelligent questions when I had to yell them out at a press conference with Mr. Trump.


You don’t want to be reading from a list of questions – ever. That’s unprofessional. Memorize your questions as best you can. There’s no problem in glancing at your notes towards the end of the interview to see if you’ve forgotten anything, but you can’t be staring at them throughout the interview.

Try to figure out an order for the questions that would work best in drawing out your subject – and then be prepared when it doesn’t work out that way. If you’ve memorized your questions, then that’s no problem.


You should be talking to your interview subject as you talk to your best friend. Keep eye contact, make it a conversation, not an interrogation. That’s another reason to memorize your questions. You need to get your subject at ease, make them feel comfortable – and the best way to do that is to look at them and talk with them, not at them.”

And that’s just a brief sample; you can read the whole article by clicking here, or on the image above.

Trumbo (2015)

Saturday, November 7th, 2015

Bryan Cranston, Helen Mirren, John Goodman, Diane Lane and Louis C.K star in the new film Trumbo.

In 1947, Dalton Trumbo (Bryan Cranston) was Hollywood’s top screenwriter until he and other artists were jailed and blacklisted for their political beliefs. Trumbo (directed by Jay Roach) recounts how Dalton used words and wit to win two Academy Awards and expose the absurdity and injustice under the blacklist, which entangled everyone from gossip columnist Hedda Hopper (Helen Mirren) to John Wayne, Kirk Douglas and Otto Preminger. The film also stars Diane Lane, John Goodman, Louis C.K., Elle Fanning, and Michael Stuhlbarg.

The Hollywood Blacklist, of course, was one of the darkest periods in American history, both within the industry and throughout the nation as a whole. As Trumbo himself famously said of this era, “There was bad faith and good, honesty and dishonesty, courage and cowardice, selflessness and opportunism, wisdom and stupidity, good and bad on both sides; and almost every individual involved, no matter where he stood, combined some or all of these antithetical qualities in his own person, in his own acts.”

Naturally, the film has generated a fair amount of controversy, and reviews that are all over the place, but at least one authentic voice of the era, the actor Kirk Douglas, who brought Trumbo back from oblivion by giving him the screenplay assignment for his film Spartacus, feels that the film accurately captures the paranoid tone of Hollywood under siege. As The New York Post reports, “Bryan Cranston personally delivered a copy of his new film Trumbo — in which he stars as the titular blacklisted screenwriter — to show Kirk Douglas, 98, at the icon’s home.

Years ago, Douglas hired Dalton Trumbo to pen his 1960 hit Spartacus after Trumbo was banned from Hollywood for a decade and wrote a 1956 Oscar-winner, The Brave One, under a pseudonym. ‘Cranston brought the film to Kirk’s house,’ said a source. ‘They started at 3 p.m., took a break for dinner, then watched the rest. Kirk loved it.’” Trumbo opened in “select cities” on Friday, November 6th; it will get a nationwide rollout over the Thanksgiving holiday.

You can see a featurette on the making of Trumbo by clicking here, or on the image above.

Black & White Cinema: A Short History on Amazon Now!

Sunday, October 11th, 2015

My new book is out now on Kindle, and in paperback and hardcover on Amazon!

From the glossy monochrome of the classic Hollywood romance, to the gritty greyscale of the gangster picture, to film noir’s moody interplay of light and shadow, black-and-white cinematography has been used to create a remarkably wide array of tones. Yet today, with black-and-white film stock nearly impossible to find, these cinematographic techniques are virtually extinct, and filmgoers’ appreciation of them is similarly waning.

Black and White Cinema is the first study to consider the use of black-and-white as an art form in its own right, providing a comprehensive and global overview of the era when it flourished, from the 1900s to the 1960s. Acclaimed film scholar Wheeler Winston Dixon introduces us to the masters of this art, discussing the signature styles and technical innovations of award-winning cinematographers like James Wong Howe, Gregg Toland, Freddie Francis, and Sven Nykvist. Giving us a unique glimpse behind the scenes, Dixon also reveals the creative teams—from lighting technicians to matte painters—whose work profoundly shaped the look of black-and-white cinema.

More than just a study of film history, this book is a rallying cry, meant to inspire a love for the artistry of black-and-white film, so that we might work to preserve this important part of our cinematic heritage. Lavishly illustrated with more than forty on-the-set stills, Black and White Cinema provides a vivid and illuminating look at a creatively vital era, as featured on Turner Classic Movies in the series “Artists in Black and White.”

Critical Commentary:

“Dixon, no stranger to film history, gives us a complete overview of the black and white movie era, from the 1900s through the 1960s. He introduces us to the masters and talks about the styles and innovations of cinematographers long gone. Dixon also tells us how the crews working behind these cinematographers helped shape a bygone era of cinema . . . this book will help to inspire others to think about the artistry so that that this classic era of cinema is never forgotten. With more than 40 photos, the book provides a look at a vital era of film.” – Daniel Solzman, Flicksided

“Like artists painting with light and shadows, [cinematographers] perfected the lighting techniques and other innovations that often turned commerce into black-and-white art . . . Covering a hitherto neglected subject, this should be essential reading to all those with an interest in cinema history.” —Roy Liebman, Library Journal

“There’s an interesting new book by Wheeler Winston Dixon called Black & White Cinema: A Short History, and it tells the history of black and white movies, its origins and impact, and it’s really well worth reading. It’s filled with all kinds of insights about black and white cinematography, and the many artists who mastered the tricky interplay in capturing light and shadow.” – Robert Osborne, Turner Classic Movies

“Dixon covers the entire history of black and white movies in one volume, and talks about the films and cinematographers who created these films, and often got little credit for their work. Fascinating and compelling, this is essential reading for anyone who loves movies.” – Robert Downey Sr. director, Putney Swope

“Dixon has an encyclopedic knowledge of film history, and a subtle and well-honed aesthetic sense. He rescues important films from oblivion, and finds fresh angles of approach to films that are already familiar.” -Steven Shaviro, author of Connected, or What It Means to Live in the Network Society

“Wheeler Winston Dixon’s colorful study of black-and-white cinema reaffirms yet again his unfailing expertise as a critic, historian, and dazzlingly fine writer. Indispensable for students, scholars, and movie buffs alike.” – David Sterritt, Chair, National Society of Film Critics

“In his latest book, Black and White Cinema, Wheeler Winston Dixon rediscovers the art of cinematography in those glorious black-and-white movies from Hollywood’s classic age.” –Jan-Christopher Horak, Director, UCLA Film & Television Archive.

My thanks to all who helped bring this book to life, and to the great cinematographers who inspired it.

Black-and-White is Dead. Long Live Black-and-White!

Monday, August 31st, 2015

Peter Monaghan has very kindly interviewed me on my new book, Black & White Cinema: A Short History.

Writing in Moving Image Archive News, Monaghan notes that “set to appear in November 2015 from Rutgers University Press, Black and White Cinema: A Short History describes a range of styles of black-and-white film art, and how they arose to create the distinctive looks of Hollywood romances, gangster dramas, films noirs, and other styles.

But Dixon, a film historian and theoretician at the University of Nebraska at Lincoln, where he coordinates the film studies program, is also a seasoned filmmaker, and that provides him with a keen eye for how black-and-white film was made. He is the author or editor of numerous books, including A Short History of Film (2nd edition 2013; with Gwendolyn Audrey Foster); Streaming: Movies, Media, and Instant Access (2013); and Death of the Moguls: The End of Classical Hollywood (2012).

In this interview, he explains why black-and-white cinematography will not return, not just because black-and-white film stock is near impossible to acquire, but moreover because the skills and techniques needed to film with it are almost irreversibly moribund.

Why do you quote this, from Jonathan Carroll’s The Ghost in Love, as an epigraph to your book? The angel said, “I like black-and-white films more than color because they’re more artificial. You have to work harder to overcome your disbelief. It’s sort of like prayer.”

To me black and white is more sensuous. It’s such a transformative act to make a black-and-white film. You are entering an entirely different world, right from the start. It’s so much more of a leap into another universe. Color films and particularly color 3-D films attempt to mimic some sort of spectacular reality, whereas black-and-white films are really a meditation on the image.

It’s a medium that dominated film production up until 1966, as the normative medium in which films were created. Cameramen had the ability to look through the camera and see the world in black-and-white even though what they were seeing on the set was color. As a viewer, you have to accept its completely artificial world, so it requires a bit more of you. I think that’s what the Carroll quotation is about.

And in the 1940s you’d go to a film already willing to be transported, wouldn’t you?

Absolutely, but I don’t think audiences in the 1940s even thought about it, or the ’50s. Or even the ’60s. They just went to the movies, and expected black and white — it was the way movies looked. A black and white world.”

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

James Wong Howe, ASC – The Great Cinematographers

Wednesday, August 26th, 2015

James Wong Howe knew how little the public understood cinematography – and wasn’t afraid to say so.

In December 1945, as reported in the American Cinematographer, “Stephen Longstreet, a nationally-known novelist, editor, critic and currently a motion picture scenarist, made passing comment that ‘brilliant cameramen are the curse of the business’ in an article appearing in the August issue of the Screen Writers Guild monthly publication The Screen Writer. He generated a quick retort from James Wong Howe, ASC.

Replying with an article published in the October issue of The Screen Writer under the title ‘The Cameraman Talks Back,’ Howe described the important contributions of the director of photography to the overall results of a motion picture production. It’s one of the best explanations of the many responsibilities and achievements of the cinematographer, and makes decidedly interesting reading. As Howe wrote:

‘I agree with the criticism of placing camera gymnastics and an epic of sets over, or in place of, story values. I take issue with the statement that this is the fault of brilliant cameramen, and that “dumb cameramen” are a necessity for good pictures, along with less money, a good script, old standing sets and some lights and shadows. Who makes the lights and shadows which creates emotional tones on the screen? They don’t come on the old sets. The cameraman makes them.

The trouble with many critics and ex-critics is that for all their skillful talk, they don’t understand the techniques of motion pictures. They still criticize movies from the viewpoint of the stage. This results in any number of false appraisals, but the one with which I am concerned here is that this approach leaves out the cameraman entirely. For the stage, there is the audience eye.

For movies, with their wider scope and moving ability, there is the camera eye. If these two were one and the same kind of production, the cameraman’s part would merely be to set his camera up in front of the action as a static recorder, press a button and go fishing. Let the lights and shadows fall as they will, or better still, paint them on some old sets. The director, the actors, the writers, the producers, the bank — and the audience and critic — would object to this, but there you have the recipe for making movies with a dumb or inanimate cameraman.

This critical ignorance affects the cameraman in still another way. When the photography of a picture is good, the critic usually praises the director for his understanding and handling of the camera. It is true that a good film director knows and makes use of this knowledge, but the good cameraman is not merely a mechanic to carry out his orders.

His contribution may be technically expert and artistically creative. His understanding of the dramatic values of the story will carry over into his creation of mood. His manipulation of lights for such effects requires both technical and skillful imagination. His handling of the camera on certain action produced by the writer and interpreted by the director may well contain some added dramatic value of its own, which enhances and further interprets.

A scene from Hud (1963), photographed by James Wong Howe – masterful work in black and white.

Camera gymnastics and strange angles are not what I would call the stock of a “brilliant cameraman.” A man of limitations, director or cameraman, may use these mechanics to cover his thinness of understanding. Some of the most well-known writers possess technical skill and slickness and very little else. A limited writer can do far more harm, or lack of good, than a limited cameraman, because of the power of word and thought. I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.

Under the best conditions, the writer, the director and the cameraman would work closely together throughout the production. In spite of the present setup, a measure of cooperation is achieved, especially between the director and cameraman. Writers have often consulted me on how to get over certain scenes with lighting and the use of lenses.

Sometimes, as now, I am tempted to detail some of the work of a cameraman in an effort toward further cooperation. By its varied parts, he faces a job of integration on his own. Throughout the picture, there is that shared responsibility of keeping to the schedule; this, with all its other implications, means the executive ability to keep the set moving. He has a general responsibility to fuse the work of all the technical departments under his direction in order to achieve the equality of the story.

He is concerned with the makeup and the costume coloring. He works with the art director to see that the sets are properly painted to bring out their best values photographically. (I refer here to black-and-white, as well as color film.) For the same reason, he confers with the set director as to the colors of furniture, drapes, rugs.

The cameraman alone is responsible for the lighting, which is a part of photography but often referred to separately.

John Frankenheimer, James Wong Howe, and star Rock Hudson on the set of Seconds (1966).

Naturally, the cameraman studies the script. His main responsibility is to photograph the actors, action and background, by means of the moving camera, composition, and lighting — expressing the story in terms of the camera. I believe in a minimum of camera movement and angles that do not violate sense but contribute intrinsically to the dramatic effect desired.

“Unseen” photography does not at all mean pedestrian photography; in its own terms it should express emotion, and that emotion, according to the story, may be light, somber, sinister, dramatic, tragic, quiet. Within this frame there may be “terrific shots,” but there should be none outside it for mere effect. Photography must be integrated with the story.

The cameraman confers with the director on: (a) the composition of shots for action, since some scenes require definite composition for their best dramatic effect, while others require the utmost fluidity, or freedom from any strict definition or stylization; (b) atmosphere; (c) the dramatic mood of the story, which they plan together from beginning to end; (d) the action of the piece.

Because of the mechanics of the camera and the optical illusions created by the lenses, the cameraman may suggest changes of action which will better attain the effect desired by the director. Many times, a director is confronted with specific problems of accomplishing action. The cameraman may propose use of the camera unknown to the director which will achieve the same realism . . .

These things may amount to no more than ingenuity and a technical trick, but they carry over into the dramatic quality of a scene. There are many studio workers behind the scenes whose contributions toward the excellence of a motion picture never receive the credit, because outsiders have no way of discovering where one leaves off and another begins.’”

Read more in my new book Black & White Cinema: A Short History, out September 17th 2015 from Rutgers University Press.

New Book – Dark Humor in Films of the 1960s

Tuesday, July 21st, 2015

I have a new book from Palgrave Pivot on the “sick” humor films of the 1960s.

As the promotional materials for the book note, “Dark Humor in Films of the 1960s presents six detailed chapters on various topics that relate to genre cinema, concentrating on films and filmmakers whose films offered wide ranging commentary on popular culture. Covering both little and well-known films and filmmakers (Vanishing Point, Marcel Hanoun, It’s a Mad, Mad, Mad, Mad World, Max Ophüls), Dixon’s writings draw on a multitude of critical, historical, and archival sources to capture the reader’s attention from start to finish.

Wheeler Winston Dixon is the James Ryan Professor of Film Studies, Coordinator of the Film Studies Program, and Professor of English at the University of Nebraska, Lincoln, USA. He is the author of Death of the Moguls: The End of Classical HollywoodStreaming: Movies, Media and Instant Access, and Cinema at the Margins and editor, with Gwendolyn Audrey Foster, of the book series Quick Takes: Movies and Popular Culture.”

Here are some early comments by reviewers:

“Dixon is a first-rate film scholar, critic, and historian, and the qualities he has cultivated and refined over the years are evident in everything from the clarity, lucidity, and liveliness of his prose to the accuracy of his research, the force of his arguments, and the perspicuity of his judgments.” – David Sterritt, Chair, National Society of Film Critics

“The Dixon dynamo’s done it again. In a swift and assured push, he opens doors to the sights, sounds—and smells—of the other world cinematic story. He peels back eyelids for us to see one built not only on the backs of the Griffiths, Hitchcocks, Bunuels, and Truffauts, but on the extraordinary creativity of those pushed into penumbric shadows; those cineastes like Max Ophüls, Juan Orol, Marcel Hanoun, and D. Ross Lederman who dared to bend minds and expectations at any cost. We have our world cinematic critic and he’s invited us to strap ourselves for a journey to the chaotic dark side of world cinematic history. As with Kubrick’s Major T.J. ‘King’ Kong, with Dixon you’re in for a hell of a ride!” – Frederick Luis Aldama, Arts & Humanities Distinguished University Professor and author of The Cinema of Robert Rodriguez

“Wheeler Winston Dixon’s new collection of essays, Dark Humor in Films of the 1960s, offers even more than its title promises.  To be sure, its opening essay presents a richly detailed and thoughtful meditation on the iconoclastic ‘sick’ humor of sixties films from Dr. Strangelove to Putney Swope.  But readers will also find much else of value, including pieces on the unsung Hollywood auteur D. Ross Lederman, the lost version of the 1971 cult road movie classic Vanishing Point, and the fatalistic noir films of Max Ophüls.  All are written with Dixon’s customary verve, wit, and attention to historical detail, making this book a must for any serious student of cinema.” – Ian Olney, author of Euro Horror: Classic European Horror Cinema in Contemporary American Culture

“This book glitters with a treasure of informative, witty, and acute insights into films and filmmakers too long neglected in their unconventional but deeply provocative importance.  No one writes about film with more infectious vivacity than Wheeler Winston Dixon, especially in these pages.” – Murray Pomerance, author of The Eyes Have It: Cinema and the Reality Effect

A short and concise look at some of the films that shaped a decade.

Son of Frankenstein Makeup Tests – In Color (1939)

Thursday, June 18th, 2015

Ever wonder what the Frankenstein monster, as played by Boris Karloff, looked like in color?

In this incredibly rare, one minute piece of 16mm home movie footage shot in Kodachrome color on the set of Rowland V. Lee’s Son of Frankenstein (1939), you can get a good idea of just how skillful Jack Pierce’s makeup was. In the opening section, the viewer is treated to a wide shot of Boris Karloff lumbering around the set in the heavy makeup, while a stagehand works behind the scenes, seen through the window, to prepare for the next take. Then there’s a closeup, capped by Karloff playfully sticking his tongue out for the camera, clearly taking the whole thing with a huge grain of salt.

In the film’s final moments, Karloff ostensibly sneaks up on Pierce and pretends to strangle him, but obviously, it’s all in fun. Son of Frankenstein is notable as the last time Karloff played the monster, although he continued to make horror movies, of course, for the rest of his career, and it’s also an odd film in that the sets were built and ready before the script was completed. The result is an eye-popping but somewhat disjointed film, yet still an honorable effort, and one of the last great classics from the Golden Age of Universal horror. And now you can see this rare piece of cinema history – a real find.

Thanks to the fan who posted this, with disabled comments, which is great – no comments needed!

Behind The Scenes – San Andreas Without Special Effects

Sunday, May 31st, 2015

Click here, or above, to see some great “raw” footage from the disaster film San Andreas, courtesy of Sploid.

The tagline on this video is how “ridiculous” San Andreas looks without the finished special effects work, but I think that’s completely off the mark. Just a casual look at this video – with intensive under water work, harnesses pulling stunt performers into the air, gigantic crowd scenes, helicopter stunts and the like, demonstrates once again that movie making is brutally hard work – something that most people simply don’t understand.

You want to experience a really tough work environment? Then crew on a feature film. Every day, day after day, you have to get up, create complex set pieces, haul tons of equipment from place to place, deal with meal penalties, overtime, safety regulations which are more than necessary, all in the service of creating a series of images that will pass by fleetingly on the screen, and then be forgotten. With the typical crew for a film such as this in the hundreds simply during physical production, and a great deal of genuine risk involved, this is nothing to fool around with.

The movie “is what it is,” in one of my least favorite phrases – it’s a big budget disaster movie directed by Brad Peyton, whose other credits include the “aggressively unambitious” Journey 2: The Mysterious Island (2012), which I actually suffered through on Pay Per View in a hotel in California, appropriately enough – and the whole enterprise is designed to do precisely one thing: make money.

But despite that, there’s a considerable amount of craftsmanship that went into the final film, and this video will give you a glimpse of that. Really, it’s a remake of Mark Robson’s 1974 film Earthquake, and in every way an improvement on the original. The special effects are better, and while The Rock is certainly no Sir Laurence Olivier, he doesn’t pretend to be – he’s an action star, and proud of it.

It really isn’t so easy to shoot such an ambitious spectacle – try it sometime, and see for yourself.

The 2015 Oscar Run-Up

Sunday, February 22nd, 2015

So, the 87th Annual Academy Awards are tonight.

Bob Fischbach of the Omaha World Herald asked me for my thoughts, and here in part is what he wrote: “Wheeler Winston Dixon [of] the University of Nebraska-Lincoln said academy voters are interested in celebrating new ideas that could rejuvenate the film industry, which he sees as under attack from streaming video and instant-access online services like Vimeo.

‘Small-budget movies have more original ideas than Marvel,’ said Dixon, who has written books about independent film and industry trends. Birdman was a technical marvel with its long takes and fluid camera motion. Boyhood took a risk in filming a family story over 12 years. The actors mature before your eyes. “’When you see a movie being made in which Superman meets Batman, that’s the sign of a genre collapsing into its baroque period,’ Dixon said.

Captain America and Spider-Man are [creatively] bankrupt.’ He compared it to the horror genre, which began with Frankenstein and Dracula but eventually doubled and tripled up on monsters to the point of ridiculousness.

Dixon said the Oscar shift has been going on for a while. When The Hurt Locker won best picture in 2009, it beat the digitally driven action fantasy Avatar, even though Avatar made 55 times more money — $2.7 billion globally . . . [Dixon noted that] big-budget tentpole movies ‘are committee movies that have to appeal to the lowest common denominator. Whiplash and Still Alice can afford to take risk[s] because they’re not going to break anybody’s bank.’

When they do catch fire, he said, the arty, independent films Oscar loves are increasingly being seen online and at home. ‘That’s the future. We’re going to see a real transformation of the Academy and what constitutes a movie, as film becomes more and more a solitary viewing experience.’”

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

Highway to Hollywood – Maury Dexter

Saturday, December 13th, 2014

Writing about The One I Love, I ran across this interesting surprise.

Director Maury Dexter, certainly not one of the major figures in film history by a long shot, has nevertheless written his autobiography – published in 2012 – and made it available as a free pdf file (click on the image above to access). Dexter’s work is extremely straightforward, and he specialized in low budget, quickly produced films for producer Robert L. Lippert for 20th Century Fox, after breaking in as an actor and getting advice from no less than director William Beaudine on how to effectively “act” on screen – Beaudine’s advice; “don’t act!”

From this, Dexter segued into assistant work, then directorial assignments, and more often than not made routine films for a set price, with the notable exception of the groundbreaking science fiction film The Day Mars Invaded Earth (not, sadly, available on DVD), winding up working for Michael Landon on Little House on the Prairie.

Dexter’s memory remains sharp, and if he’s not a great prose stylist, he’s still got a lot of tales to tell. Dexter’s memoirs are short and punchy, with lots of inside information, and make for a light, easy read. This is a story of the underside of Hollywood, and the “bread and butter” pictures that cost so much, made so much, and never strained the limits of genre filmmaking.

But the price is right – so check it out; Hollywood in the 50s and 60s.

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 or

RSS Frame By Frame Videos

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    UNL Film Studies Professor Wheeler Winston Dixon discusses the 2015 Ridley Scott film "The Martian," and the accuracy (and often inaccuracy) of science-fiction films at predicting real advancements in science and technology. […]
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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