Detour: Hollywood: How To Direct a Microbudget Film - Or Any Film, For That Matter

by William Dickerson

In "DETOUR: Hollywood," Dickerson puts the making of his "Underground Hit," Detour, on display for all to see. He will teach you what you really need to know about making a microbudget film, or a film of any budget for that matter, from the nuts and bolts of directing, to getting your movie made and out into the world, including:

- The Director as the sole defense for the story
- Understanding the two main ingredients of filmmaking: Subtext and Point of View
- Beating out a script
- The template for creating the perfect Director's Binder
- Action Verbs: How to adjust performance through severity and mildness
- Avoiding the trap of style over substance
- The importance of Theme
- Detailed behind-the-scenes of the Pre-Production, Production, Post-Production and Distribution of Detour
- How the distribution model has changed...for the better

Genres: Film

180 pages, Paperback

First published April 14, 2015

About the author

William Dickerson is a filmmaker, author, musician and professor. His debut feature film "Detour," which he wrote and directed, was hailed as an "Underground Hit" by The Village Voice, an "emotional and psychological roller-coaster ride" by The Examiner, and nothing short of "authentic" by The New York Times. His metafictional satire, "The Mirror," opened YoFi Fest’s inaugural film festival, and his film, "Don’t Look Back," debuted on television to 1.1 million viewers. His award-winning work has been recognized by film festivals across the country.

His first book, "No Alternative," was declared, "a sympathetic coming-of-age story deeply embedded in '90s music" by Kirkus Reviews. His book on filmmaking, "DETOUR: Hollywood – How To Direct a Microbudget Film (or any film, for that matter)," was called "candidly practical, thoroughly 'user friendly', and an essential instruction guide–especially for independent filmmakers working on shoestring budgets" by Midwest Book Review. William is a graduate of the American Film Institute Conservatory, served on their Alumni Executive Board and was selected by The White House and AFI to serve as mentor to winners of the White House Student Film Festival under two Presidents of the United States.

His writing has been published by Indiewire, MovieMaker Magazine, Filmmaker Magazine, The Hollywood Reporter's The Wrap, Script Magazine, Film Slate Magazine, Talkhouse, and SaveTheCat.com. He adapted and directed the film version of "No Alternative," which was released worldwide through Gravitas Ventures. The film stars Kathryn Erbe and Harry Hamlin and was selected as Dances With Films' "Opening Night Feature" in 2018. The Los Angeles Times called the movie "a remarkably assured and deeply felt grunge-era coming-of-age picture," and Film Threat said it was "a rare indie gem that delivers solidly on all fronts with no missteps."

The movie, which was inspired by Dickerson's band from the 90s, won "Best Soundtrack" at the Paris Art and Movie Awards. His band, Saturday Saints (formerly Latterday Saints), is highlighted on the soundtrack alongside such musical luminaries as: Mudhoney, Lisa Loeb, Superdrag, Moby, sElf, Failure, Sebadoh, and others. The soundtrack was chosen as one of the official releases by Record Store Day 2019. Saturday Saints were recently signed to Rhyme & Reason Records on which they released their debut album entitled Anhedonia.

William is also an experienced educator, having taught masters seminars and lectured on the subject of filmmaking at schools such as The American Film Institute, Boston University, Emerson College, California State University Los Angeles, and New York Film Academy. He is currently a faculty member at Hofstra University’s Lawrence Herbert School of Communication and AMDA College and Conservatory of the Performing Arts in New York City.

Reviews

[Gaby Triana · Rating 5 out of 5]

A Thorough and Clear Orientation of Indi-Filmmaking

For years I’ve dreamed of “Making the Movies,” but my career in TV and Animation got in the way. Well, in the past several months I’ve decided it’s time to resume my pursuit. Over many years I’ve read books and studied film on the process, and worked with several film pros to get advice. This book came highly recommended, and it did not disappoint. Dickerson concisely conveys the trials and tribulations the Director-in-Waiting can, and probably will, face. The advice strikes an excellent balance between, “Prepare to meet your maker,” and “You can do this!” So I guess, I’m going to do this. Thanks William. 👍

[Susan Csoke · Rating 5 out of 5]

In DETOUR > HOLLYWOOD William Dickerson gives the reader the Ins and Outs as well as the Positives and Negatives on making any sort of film. If you are anticipating making your own film, this Book IS for you! It provides you with all the knowledge and information you will need. AN EXCELLENT BOOK

[Michael · Rating 3 out of 5]

Once I got past the boastful introduction listing the author's resume and accomplishments, I was pleasantly surprised to find that Detour by William Dickerson is an insightful and inspirational guide to making an independent film from the ground up. Dickerson is clearly a movie nerd, and the best sections of the book come early on when he breaks down scenes from movies like Mulholland Dr. and Taxi Driver, explaining their styles and subtexts. On the downside, the book falls short when it comes to explaining the nitty gritty details of how to, say, write a script. It's almost like Dickerson can't decide if he's writing a filmmaker's memoir or a how-to guide.

Still, this is a fun read for both cinephiles and aspiring filmmakers, and like any great low-budget movie, it makes filmmaking seem like a dream capable of realization.

Choice Quote: "It is important to remember that there are no sacred cows in this profession, despite the anguish my DP suffered when I told him his favorite and most labored-over shot was summarily tossed onto the cutting room floor."

[Melissa · Rating 5 out of 5]

Very good for beginning filmmakers

I enjoyed the read. Through his own experience in the making of his movie Detour, Dickerson is able to give invaluable advice, insights and reality check as to what is the journey of making a movie with minimum funds. I loved how he broke down his own method and approach to directing as well, everyone can take the best of it and apply what inspires them.

[Kate · Rating 4 out of 5]

Balancing industry advice and real life experience, William Dickerson's "DETOUR: Hollywood: How To Direct a Microbudget Film (or any film, for that matter)" is an insightful read for any burgeoning filmmaker without drifting too far into technicalities that it would distance a casual reader. With an array of classic films as examples, and his reflections on his own budget filmmaking experience, it packs in a lot of learning opportunities in an interesting way.

Structurally, the book seems to have three main phases. The first is more typical of your everyday how-to film book, noting, for example, the importance of tone or subtext to build your story. What stands out about this section is definitely Dickerson's use of examples; they are well-informed and help communicate what he is talking about in a way that is much more accessible to newcomers to film or casual readers. I would have appreciated a bit more diversity in these examples - as they were all very male-centric and pretty typical film student examples - but they were all films that most people will have at least heard of.

The second phase drifted more into an autobiographical reflection on the filming of Dickerson's "Detour". As a reader, this was much more interesting, but I could imagine finding it somewhat frustrating if I had purchased the book to act as my sole guide for learning what I "really need to know" about filmmaking. There was certainly good advice threaded throughout the narrative - and I appreciate the insight he had into each different person's role - but it is intrinsically woven into the experience of one film and one director. This results in the book showing how to overcome issues that occur in only in particular circumstances, with little advice for filmmakers who haven't taken the same pathways as the author. For those who haven't already got industry connections, it could be quite a demotivating read.

The final section offered the author's final reflections and, while there are certainly some interesting points, it does come off as a little preachy with a dash of artistic loftiness. For filmmakers who grate against the restraints of the industry and wish to break moulds and build art it was probably wonderful but, for me at least, I wish the author had given the book a more rounded feel by giving a more practical summary.

[Mike Parsons · Rating 5 out of 5]

The Indie filmmaker, William Dickerson describes Detour. Hollywood: How to Direct a Microbudget Film as a practical and compact guide for filmmakers, for amateurs and professionals alike. It is certainly that, but it is also more than that.

First, it’s certainly an excellent 101 guide to making a movie. It’s full of advice, of practical tips, of wisdom and commonsense. It deals with every conceivable aspect of filmmaking. The author uses his experience on the set of his first full-length movie, Detour, to draw out lessons on directing and in the process on other aspects of filmmaking like editing, producing, gaining finance, and post-production. I like the fact that though this is ostensibly didactic, it’s based on what Dickerson learned over 5 years bringing the film to the screen. He learned things the hard way (‘turn problems into opportunities’), experiencing set-backs with actors, finance and a host of other things. But the impression you gain is that a director who believes in the product has to be visionary, proactive and patient in equal measure.

Second, though, I found the book interesting in its own right. I’ll never make a movie, but reading this account has given me such a different perspective on the genre. I love movies and the cinema. I go a lot! This book has filled my mind with ideas and perspectives that have changed the way I look at the art form, and appreciate it much more. Dickerson’s use of classic movies like Scorsese’s Taxi Driver and Spielberg’s Schindler’s List, together with his fascinating case-study of Paul Thomas Anderson give insights that enhance any movie experience. The fact that reading this book encouraged me to watch the film, Detour, must indicate something of the book’s impact on the reader. Watching the movie after reading the book, by the way, is an experience in itself!

This is a well-written, thorough look at how to direct a movie from scratch. It works on diverse levels, which makes it a book to read and to enjoy.

[Rebekaneongirlyahoo.com · Rating 3 out of 5]

This book contains plenty of good advice for directors, with some excellent nuggets of truth sprinkled throughout the text. Yet it gets off to a slow start with a lengthy discussion about artistic vision that wasn’t very interesting for casual readers.

The story does get much better once the author starts going into details about his own production. However, I think most actors can understand verbal instructions to either tone down or amp up their performance without the use of specific, indicative words. Therefore the chart included for that purpose seemed like overkill.

The author frequently talks about respecting your cast and crew, but never mentions that extras should also be treated with consideration. This oversight probably occurs because Detour only had two named characters and no extras were involved. Yet, speaking as someone who has been an extra on numerous films, this is something directors need to hear far more often than they apparently do.

The text is occasionally a bit too technical for ordinary readers to fully understand. However, the main problem I noticed was that the author constantly referenced artsy films that primarily appeal to male audiences.

(I personally love movies but have never seen nor have ever had any desire to watch the films he mentions.)

He does a good job of describing what he’s talking about but it’s still hard for readers to follow. A more varied set of references would probably help resolve this issue.

Of course, the $7 Kindle price is only a drop in the bucket if you are an inspiring filmmaker or a film student. But it’s probably a deal breaker if you’re just someone who’s merely curious about what it takes to create a small budget film.

--------------only for Kindle books-----------------

As I’ve mentioned in other reviews, I despise Kindle telling me that I should highlight certain sections of a particular book. The dots alone make the section in question more difficult to read. So why would I compound the problem by using the suggested highlighter feature?

[Hannah Barry · Rating 4 out of 5]

Dickerson's 'how to' on film proved to be a satisfying, helpful and inspiring read--after you get past the tedious intro in which Dickerson boasts on about all of his accomplishments, of course (a pre-requisite for any book that desires to be trust amidst the 'self-help, DIY, textbook' variety).

Not only does Dickerson offer technical advice and give you a play-by-play of the entire film making process, he also adds glimpses and examples of his own experience. His (at times) sardonic humor, creates an accessible avenue to the reading that I, admittedly, wasn't expecting, but deeply enjoyed all the same. Because he lent his own perspective, it brought us more fully into the world.

Along with tips and tricks, Dickerson speaks directly to the reader--encouraging us and validating us in our dreams of film, of being a director. With examples from already made films sprinkled throughout, he makes the goal of being a director feel attainable. Not only that, he makes it feel so much less daunting than Hollywood makes it seem.

However, he does not skate over the negative aspects that the world of Hollywood and the money associated with it can bring. On that note, though, a recurring theme throughout is his devotion to the story, his adamant belief in the integrity of a film--the belief that the story is what binds us all together and that story must always be preserved. A refreshing thing to hear, frankly.

In short (or not), Dickerson has a smash hit here. He lays out easy to follow, step-by-step processes for how to direct your own film and he does it well.

[Rachel Bird · Rating 4 out of 5]

William Dickerson draws on his real life filmmaking experiences, as well as his formal film education to teach readers about the art of making a microbudget film in Detour. He does a great job at showing how limitations can be opportunities for creativity and how unexpected challenges can actually improve the final product if the director remains flexible. The book is broken up into easily digestible sections and also features informative ‘homework’ sections. The sections that used examples from films to demonstrate how to use different film techniques were a highlight. While Detour is primarily aimed at those wanting to direct a microbudget film, I feel it could appeal to other readers also, such as aspiring actors. For example, Dickerson touches on different aspects of the director-actor relationship throughout the book, as well as a director’s point-of-view on the audition process. Filmmaking textbooks and other associated resources can often be highly expensive. In contrast, this book is affordable and comprehensive. Dickerson also does a good job at breaking down the meaning of many industry terms.

[Katherine · Rating 4 out of 5]

This book is a fantastic overview of the ins and outs of filmmaking, and is a must-read for any burgeoning directors or film studies students. Dickerson offers (in my reading experience) unprecedented insight into directing a film- and specifically, low-budget films, a specificity which I think is much needed, especially given that anyone purchasing a 'how-to' book is more likely to be working on films that are relatively under-financed, themselves. This is an ideal guide on how to succeed in such an endeavour.

Some sections of the book are inevitably more useful than others, and will have varying degrees of relevance to each individual reader, but I personally found the book extremely insightful as a whole. Some of the theoretical musings towards the back of the text interested me particularly, but may prove less interesting to someone looking for a purely practical guide. Overall, though, Dickerson seems to have struck the balance well - he supports his more conceptual statements with the narrative of his experience, and vice versa.

[Horror DNA · Rating 4 out of 5]

DETOUR HOLLYWOOD: How to Direct a Microbudget Film (or any film, for that matter) is the latest in a long line of instructional film books to appear in my collection, and author William Dickerson relays a great deal of important information in a relaxed, conversational tone. Using his independent feature Detour as a source, Dickerson shares some hard lessons learned about the process of directing his first feature film and lays out the experience in a chronological tutorial that aspiring filmmakers will find invaluable. He begins with a brief personal introduction before moving on to define what exactly a director does, and how the job description is likely to shift from one day to the next while actively in production.

You can read ZigZag's full review at Horror DNA by clicking here.

[Jennifer Yoder · Rating 4 out of 5]

DETOUR: Hollywood is written as a learning tool for those attempting to create a micro budget film and get a foot into the door of the movie making business. The author, William Dickerson, has extensive experience in this area and uses this book to share his personal knowledge.

The writing itself is excellent. The book is really written for novices and uses words and examples aimed just at that. The book breaks down every aspect of making a film that would be unknown to those with little to now experience. The author even goes so far as to give examples straight from popular films that the reader can then watch to get a better understanding of what he is attempting to teach.

As a reader with zero experience in the filmmaking industry, it was amazing to realize just how much goes into the process. This book really does appear to be a must read for those trying to break into the scene.

[Yvonne Glasgow · Rating 5 out of 5]

Detour is really a step-by-step guide of making your own movie - which follows the path of author William Dickerson as he works on his movie, Detour. As someone that has only messed around with movie making (after the original Blair Witch movie came out, of course), I found this an interesting and educational read that was inspiring when it comes to stepping into the creative world of movie making. I like that it doesn't sugar coat things - making a movie isn't easy, and this book won't leave you believing that it is.

I think this book would be just as great for the amateur filmmaker as it would be for someone that's already made some films and just wants to see what others have experienced.

[Ravin Maurice · Rating 5 out of 5]

I thoroughly enjoyed this book.
This isn't just a how to about making a film on a microbudget. Its really a memoir of Dickerson's experience making his first feature, Detour. I loved everything about this book. Dickerson takes the lessons he is trying to teach the reader and gives practical advice and examples of how he has worked through them that are super engaging. I learned a lot not just about making a film but putting a story together which could be used for any type of storytelling. I am sure I will use this very practical advice as a novelist and when I (finally) write my screenplay.
I will recommend this book to anyone interested in film, storytelling, and in Dickerson's work. It was really great.

[Crystal Reed · Rating 5 out of 5]

The author draws heavily on his personal experience of breaking into the business to teach us about making a film. He breaks down the elements of directing and production to levels that only someone with experience or a formal education in filmmaking would even realize existed, but he does so in an easily readable and understandable way. The pages fly by while you're reading about scriptwriting, POV, storyboarding, shot lists, working with actors, props, distribution, early screenings, and on and on, until you reach the end of the book and realize you've learned SO MUCH without any sort of stress or effort. If only every teacher was so clear, entertaining, and adept.

[Petrea Burchard · Rating 5 out of 5]

I like the way this book is laid out with the chronology of putting the film together, from the idea through the distribution, including setbacks, budget holdups, shooting and post. Dickerson isn't afraid to say where he screwed up because he wants to prevent his reader from making the same mistakes he did. (That's okay, we'll probably just make different ones.) For the starry-eyed innocent or even for those not entirely new to the game, this book describes the reality of making a low budget film. If you've wondered how it's done, this book will tell you, step by step.

[Alexys · Rating 5 out of 5]

Told in a very accessible style, this is a great start for anyone interested in learning how to make a movie, particularly a microbudget film. It is written by someone who did actually go to school to be a filmmaker, so while there is some verbiage in there (including technical terms, abbreviations, and mentions of equipment) that a novice or outsider may not be familiar with, the author generally does a good job explaining what he means and the implications of such details. Definitely recommend.

[Lord · Rating 3 out of 5]

3.5

[Abner Rosenweig · Rating 5 out of 5]

Legions of filmmakers go to Hollywood to glorify themselves over and above the legends they tell.

Not so with William Dickerson.

"Detour Hollywood" is a sincere testament of a hard-working artist who is passionate about his craft.

Dickerson's genuine, first-person account is a useful demonstration of the passion, commitment, hustle, sacrifice, and grit it takes to survive and thrive in today's indie Hollywood jungle.

Dickerson's primer on the basics of storytelling and directing is quick, but informative. I picked up a few tips I hadn't encountered elsewhere, such as:

• "If you’re directing something, always expect that someone wants to take your job from you, and this is because there is always someone who wants to take your job from you."

• "Write characters whose backgrounds run in stark contrast to the dramatic circumstances that they are pitted up against in the story. I think it’s important for there to be an inherent irony to a character’s predicament."

• "Set a date and stick with it, whether you have the money or not... It's all about momentum."

Dickerson provides a fascinating and motivating narrative of how he scrambled to get his feature film Detour produced. As well as demonstrating the total dedication required to make anything happen, Dickerson's thorough account gave me some insight into navigating the titanic egos involved in the inherently collaborative cinematic enterprise, as well as some process ideas, such as the impact multiple test screenings can have on the final product.

The book is a fast, informative, and inspiring read from a thoughtful filmmaker who, above all, appreciates and advocates film as art.

Recommended.

[Rachel Hoffman · Rating 5 out of 5]

This book is great. It reminds me of "Save the Cat!," by Blake Snyder, except it's not about screenwriting. The way Snyder gives practical tips on tweaking scripts, Dickerson does the same with directing a movie, specifically a microbudget movie.

The first half of "DETOUR: Hollywood" is a dog-earable handbook, the how-to's, but from the perspective of a filmmaker that attempted his first feature in today's world of independent film and succeeded. I particularly enjoyed the chapter on Theme and have a much better understanding as to why and how inexperienced filmmakers can fall into the trap of "style over substance." The second half of the book is the behind-the-scenes of that first feature, and while it succeeded, the race to the finish line was tough and filled with obstacles --obstacles that have been turned into lessons that are now shared with readers.

I think producers (and just about anyone looking to work in "the biz") would be just as interested in this information as directors themselves. I am not a director, but I have worked in various aspects of film production over the years, and I feel like I have gained a better understanding of indie movies these days after reading this: how they're made and what it takes to make one and make one successfully (if you're the director or not). Although this is clearly a book about directing, it is not JUST a book about directing. It's really a how-to book for filmmaking that walks you through the whole process from start to finish.

[Jonathan Forisha · Rating 4 out of 5]

Initially I was put off by the formal style of Detour. It seems to straddle the line between being a non-fiction book and a textbook, with the beginning heavy on the textbook side of things. Thankfully it opens up more once the author gets in to his personal experiences making his debut feature, and from there it was quite a joy.

Dickerson is obviously a meticulous person, and has definitely worked out some smart ways of making sense of the madness that is directing feature films. He shares it well here, laying out in sometimes tedious detail his pre-production process (his binder of knowledge I found particularly interesting/useful).

In some ways the second half of this book functions as an updated companion to Robert Rodriguez's famous Rebel Without A Crew. Whereas Rodriguez constantly touted the importance of doing things yourself, Dickerson instead says how important it is to surround yourself with capable people - but then how important it also is to be able to pick up the slack if slack happens to appear.

Both Rodriguez and Dickerson discuss the hurdles of having no money, no distribution, etc., and lay out in detail the ways in which they worked around their respective problems. In Dickerson's case, he had a whole host of modern-day options such as VOD, and in that sense the book works very well in prepping a director for creating and attempting to release their own micro budget film.

[Tom Stamper · Rating 5 out of 5]

This is an all-around great story that is entertaining to read and informative on the process of independent film making. I have read books on how to shoot or edit an independent film, but Mr. Dickerson spends an ample amount of time telling you the other important stuff. How do you deal with backers? How do you deal with actors both famous and unknown? How does the current distribution process work?

I know more than a few people who have made complete films that would have been stronger had they gone through all of these steps. I have seen actors and directors not get along. I have seen completed films gather dust. I have seen mistakes that couldn't be fixed in post production. It's not enough to have a dream of making movies. You need to ground yourself in the business if you want to succeed. This is a book that will ground you.

[Loki · Rating 3 out of 5]

The author sent me a review copy of this book, so I feel a tad guilty that I didn't manage to finish it. I did get to about 60% of the way through it before I gave up, and I promise you, I tried my best.

A lot of this book is a fairly useful guide to how to put together a film, especially the pre-production section. But it's hamstrung by the author's choice to make the book quite so self-congratulatory an autobiography. That's not an inherently bad choice - it worked for Robert Rodriguez in his very similar book - but where Rodriguez wants to share how much fun it is, Dickerson seems to want you to understand how cool it all is, and by extension, how cool he is. No sale.

[Carlos Sandoval · Rating 5 out of 5]

This book is a must for newcomers as well as seasoned pros. For newcomers because it has first hand experience and an honest approach. Dickerson is a man who knows the rules and he knows how to adapt them to his own sensibility. Seasoned pros could take this book like a breath of fresh air to get the fire back. I´ve read a lot of books on the subject, and believe me, there are great ones, but this one is so down to earth that will wanna make you get things done. No more excuses. Cheers and thumbs up!

[Paul · Rating 5 out of 5]

Great microbudget how-to/ filmmaker's diary. I use this book along with
X Films: True Confessions of a Radical Filmmaker and Spike Lee's She's Gotta Have It diary when I teach Indie/low budget filmmaking. A smart text clearly told, simply put and personal.

[Saul Guardado · Rating 3 out of 5]

Apart from the boasting the book gives a clear insight to the operations of how an independent film gets made