William Dickerson is a filmmaker and author. He graduated from The College of The Holy Cross with a Bachelor’s Degree in English and Film and received his Master of Fine Arts in Directing from The American Film Institute in Los Angeles.

WilliamDickerson_DETOUR-Hollywood_Headshot_SmallFileHis 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. He self-released his metafictional satire, “The Mirror,” which opened YoFi Fest’s inaugural film festival in 2013. He recently completed his third feature film, “Don’t Look Back,” which debuted on television to 1.1 million viewers on LMN. 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 second book, “DETOUR: Hollywood: How To Direct a Microbudget Film (or any film, for that matter),” is available now. Midwest Book Review writes: “‘DETOUR: Hollywood’ is candidly practical, thoroughly ‘user friendly’, and an essential instruction guide — especially for independent filmmakers working on shoestring budgets.” William currently serves on AFI’s Alumni Executive Board and is a Faculty Member at the New York Film Academy. He was recently selected by The White House and AFI to serve as mentor to winners of the first annual White House Student Film Festival hosted by President Barack Obama.

His writing has been published by MovieMaker Magazine, Filmmaker Magazine, Indiewire, The Wrap, Script Magazine, Film Slate Magazine, The Talkhouse, SineScreen Magazine and His novel, “The Dreamachine,” is in bookstores now and he recently adapted and directed the film version of “No Alternative,” which was released worldwide through Gravitas Ventures and Myriad Pictures. The film stars Michaela Cavazos, Conor Proft, Chloe Levine, Kathryn Erbe and Harry Hamlin. The Los Angeles Times hailed the movie as “a remarkably assured and deeply felt grunge-era coming-of-age picture,” and Film Threat called it “a rare indie gem that delivers solidly on all fronts with no missteps.”