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Posts Tagged ‘Interviews’

Great Advice from Great Directors

Tuesday, July 15th, 2014

Here are some excellent tips from directors past and present; above, director Claire Denis.

As Alison Nastasi, who compiled these quotes, writes in Flavorwire, “artistic expression is an assertion of individuality, and all artists compose their work differently. In the case of filmmaking, there are numerous approaches to translating a story to celluloid. Inspired by director Wim Wenders’ recent advertising short, Wim Wenders’ Rules for Cinema Perfection, we’ve collected the golden rules of filmmaking employed by 100 famous directors. These tips and tricks are a wonderful source of advice and inspiration — even for the most seasoned professionals. The rules also serve as a fascinating snapshot of each directors’ filmography, capturing the spirit of their work.”

Click here, on the image above, to see the entire collection of quotes; interesting reading.

The DGA Visual History Archive – Director Interviews Online Here

Sunday, April 27th, 2014

The DGA Visual History Program offers an excellent collection of free video interviews with directors.

As the Directors Guild of America website notes, “founded in 2000, the DGA’s Visual History Program has conducted more than 160 interviews with directors and director’s team members discussing their careers and creative processes in film, television and other media.” These include such luminaries as Agnes Varda, Constantine Costa-Gavras, Claude Lelouch, Robert Altman and many, many others. You can see the interviews by clicking on the image above, and then searching the data base, or clicking on the images of some of the directors featured this month. My friend Dennis Coleman brought this to my attention; many thanks, Dennis! This is is an incredible resource.

Click here, or on the image above, to access these remarkable video interviews.

Philip Seymour Hoffman

Tuesday, February 4th, 2014

Ever since I heard the news of Philip Seymour Hoffman’s death, I’ve been trying to come to terms with it.

That’s why I haven’t posted on this superbly talented actor since his tragic death. Like nearly everyone else who loves movies, I was always moved Hoffman’s work, especially in films where he really went out on a ledge, like Capote, for which he deservedly won the Academy Award for Best Actor. But his death throws his entire life’s work into sharp perspective; after 50 films in 25 years, there will never be another Philip Seymour Hoffman film. It’s a tragedy of immense proportions for his family, his colleagues, and for those of us who cherished and looked forward to his next piece of work.

The New York Post has just published a selection of some of Hoffman’s best interview quotes, and here he is talking about the vicissitudes of fame: “I do my best not to feed into any aspect of fame when it comes up. If I ever get a sense that if I say this or I do that, it could feed into that dynamic, I stay away from that. I think some people navigate the waters of being very well known very well, actually. But I actually just don’t even want to go there. And I think that has more to do with how I am as a person. I don’t like to be the center of attention; I really don’t think I’m that guy, and when I am, it’s for a reason. And I think part of it is that if you just keep attacking your day like you would no matter what, people start to get used to you.

So I might be walking by a lot of people during the day, they’re like, ‘Oh! That’s Phil Hoffman!’ But if they keep seeing me walk by them all the time, they’re like, ‘Oh, Phil Hoffman.’ It stops becoming important. So that’s why if I go to a different city, all of a sudden I’m reminded again. But in New York, or in Chicago, towns I’ve been in or mingled in enough, they see you and there you are, and hopefully you don’t run into the person from out of town. [Laughs.] Who doesn’t know you like that, and is just completely overwhelmed that they’re seeing you.”

Philip Seymour Hoffman, one of the greatest actors of 21st century cinema, gone much, much too soon.

New Book: Cinema at The Margins

Sunday, December 1st, 2013

I have a new book out today, Cinema at The Margins, from Anthem Press, London.

More and more, just a few canonical classics, such as Michael Curtiz’s Casablanca (1942) or Victor Fleming’s Gone With The Wind (1939), are representing the entire output of an era to a new generation that knows little of the past, and is encouraged by popular media to live only in the eternal present. What will happen to the rest of the films that enchanted, informed and transported audiences in the 1930s, 1940s, and even as recently as the 1960s?

For the most part, these films will be forgotten, and their makers with them. In this book, I argue that even obvious historical markers such as Alfred Hitchcock’s Psycho (1960) represent shockingly unknown territory for the majority of today’s younger viewers; and yet once exposed to these films, they are enthralled by them. In the 1980s and 1990s, the more adventurous video stores served a vital function as annals of classic cinema. Today, those stores are gone and the days of this kind of browsing are over.

This collection of essays aims to highlight some of the lesser-known films of the past – the titles that are being pushed aside and forgotten in today’s oversaturation of the present. The work is divided into four sections, rehabilitating the films and filmmakers who have created some of the most memorable phantom visions of the past century, but who, for whatever reason, have not successfully made the jump into the contemporary consciousness.

“Few have explored the cinematic margins as thoroughly as Wheeler Winston Dixon, and few match his talent for finding and celebrating the secret glories of overlooked, undervalued films. Gliding from Peter Bogdanovich to Myra Breckinridge by way of Robert Bresson, this is an exciting and ever-surprising collection.” —David Sterritt, Columbia University and Chair, National Society of Film Critics

“The marginalization of important films is a constant threat in the age of the New Hollywood blockbuster, with commercial cinema reduced to a cheap thrill and the audience conceived as adolescents. Dixon’s thoughtful remarks on neglected films testify not only to his own fine sensibility, but to the urgency of the concerns he sets before us.” —Christopher Sharrett, Seton Hall University

You can read more here, or click on the image above; available now from Amazon in all formats.

Streaming: Movies, Media and Instant Access on “Inquiry” with Mark Lynch

Thursday, August 1st, 2013

I just did an interview with host Mark Lynch on the radio program Inquiry, from NPR affiliate WICN in Worcester, MA, on my new book, Streaming.

As it says on the website for the podcast of the show, “Tonight on Inquiry we welcome back Wheeler Winston Dixon. He is the James Ryan Endowed Professor of Film Studies and professor of English at the University of Nebraska, Lincoln. His new book is Streaming: Movies, Media and Instant Access. Professor Dixon declares that we are now in the “postfilmic era”, a time when movie film will no longer exist and all movies will be shot digitally. DVDs will also cease to exist as all films will be “streamed” and movie houses, those that are still extant, will only show digital copies of movies. But what are the implications of all of this for the art of film, the preservation of old films and how we watch movies? The answers are disheartening and  a little bit frightening. Tune in and find out why.”

And you can tune in by clicking here, or on the image above.

Death of The Moguls Radio Interview with Mark Lynch

Thursday, January 24th, 2013

Harry Cohn, head of Columbia Pictures, watches rushes in his screening room.

This afternoon, I had the good fortune to talk with Mark Lynch for his NPR show Inquiry from WICN radio, on my new book Death of the Moguls. In the 1930s and 40s the great Hollywood studios were ruled by a small group of men who had complete control over which films got made and what stars got to appear in those films. These moguls rule was absolute and together they had a feeling of “absolute immortality.” They were the real gods of Hollywood. But after they died, the era of the classic Hollywood studio also came to an end and the studios lost their individual identities. Here, I get a chance to talk about the book with Mark Lynch; we ran out of time just as we were getting started! Hope to do it again.

Click here, or on the image above, to hear the entire half hour show.

Moving Image Archive Interview on Death of the Moguls

Wednesday, December 19th, 2012

Here’s an interview with Peter Monaghan, editor of Moving Image Archive News, in which I discuss my new book, Death of the Moguls, from Rutgers University Press.

As Monaghan writes, “Wheeler Winston Dixon talks about how he went about researching his latest book, Death of the Moguls: The End of Classical Hollywood, which Rutgers University Press released in August 2012. Dixon is a prolific film historian based at the University of Nebraska at Lincoln. Among his many books are 21st Century Hollywood: Movies in the Era of Transformation (with Gwendolyn Audrey Foster), A History of Horror, and Film Noir and the Cinema of Paranoia (all Rutgers University Press).

In Death of the Moguls, he explains what happened when leaders of Hollywood studios during the “golden era” of the 1930s to 1950s faced obstacles they had not foreseen, and could barely countenance – dying, for example. Dixon describes the final years of the studio system and assesses the last days of the “rulers of film” – moguls like Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic. Dixon asserts that because those figures made the studios through the sheer force of their personalities and business acumen, their deaths or departures hastened the studios’ collapse. Why? Because almost none of them cultivated leaders to succeed them.

Dixon introduces many studios and their bosses of the late 1940s, just before the studios collapsed, and describes their last productions as they headed towards their demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters and slash their payrolls; how the moguls dealt with their collapsing empires in the television era – by shifting to 3D, color, and CinemaScope; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.

In his ‘lucid and penetrating account,’ as film scholar Steven Shaviro of Wayne State University puts it, Dixon also describes what came next: the switch to television production and some distribution of independent film.”

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

Joan Crawford on Stardom, George Cukor and More

Tuesday, February 28th, 2012

Here’s an interesting clip of an interview from British television with Joan Crawford, mid 1960s . . .

in which she discusses working with director George Cukor, her sometimes antagonistic relationship with Elizabeth Taylor, and argues that films have now — even in the mid 1960s — become committee projects, which either “make a lot of money or lose a lot of money,” in the words of the interviewer. One of the last of the MGM stars, Crawford here seems somewhat old-fashioned, and deeply judgmental, clearly longing for the past, but at the same time realizing that the studio system she grew up in — “I was born at Metro” — is now a thing of the past.

Jean-Luc Godard on Film Criticism, 1963

Tuesday, February 28th, 2012

Here’s a remarkable interview with director Jean-Luc Godard shot for French television in 1963, just after the release of his masterpiece Le Mépris (Contempt).

It’s both fascinating and a bit sad that Godard describes film criticism of his era as essentially an “honest” field, noting that critics are always “sincere,” whether he agrees with them or not, compared to today, when film criticism has become primarily a fan-based enterprise, and the daily critics are more under pressure than ever before to conform to commercial demands. Godard, of course, started out as a critic before he became a filmmaker, and as he admits in this clip, some of his early reviews were often “cruel” towards certain filmmakers and their works.

But at the same time, he doesn’t seem to mind the same slings and arrows when they’re directed at him, just so long as the critics really mean what they say. Godard also speaks frankly of the commercial pressures brought to bear on him by producer Joseph E. Levine during the making of the film, and demonstrates enormous grace under pressure in the process. It’s a rare glimpse into the mind of one of the world’s most innovative and often controversial directors; absolutely essential viewing.

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.

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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 http://newsroom.unl.edu/inthenews/