Mad Max Fury Road

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Cinephilia & Beyond have published a conversation between Brian De Palma and Francis Ford Coppola from a 1974 issue of Filmmmakers Newsletter.

Watch a video on the sounds of Mad Max: Fury Road:

Alamo Drafthouse’s seven-screen Brooklyn location will open this summer:

Currently in its final phase of construction, the flagship theater, located at 445 Gold Street – at the intersection of Fulton and Flatbush Avenues – will be a movie-lover’s paradise featuring seven screens celebrating all forms of cinema. True to the brand’s roots, Alamo Drafthouse Downtown Brooklyn will feature a diverse programming slate blending the best arthouse and independent releases with Hollywood’s biggest blockbusters. With the ability to screen both 35mm film and digital formats, the theater will also boast a robust repertory program that salutes the classics and the obscure with equal fervor.

Listen to Marc Maron‘s discussion with Sam Rockwell and Richard Linklater:

Paul Greengrass discusses a major problem in the film industry with The Guardian:

Our industry is not the plaything of the aristocracy, but there’s no question that being able to be sustained by your parents when starting salaries are luncheon money and contract length is tiny is invaluable. It’s being filled by people with means. We’ve got to work harder as an industry to make young people’s route in benign. It wasn’t that I didn’t have my arse kicked, but you were in a system where you had time to make mistakes and were given space not to conform.

Watch Robert Altman‘s unaired HBO pilot Killer App from 1998 (via The Playlist):

Little White Lies‘ Stephen Puddicombe on how Federico Fellini mastered the magic hour, and watch a video on Italian cinematographers:

The role of dawn in La Dolce Vita is to condemn the decadent nocturnal activities of tabloid journalist Marcello in 1950s Rome. When the sun rises, it is as though a heavenly force were casting a spotlight on the sins of the film’s characters, a piercing white light that is an unwelcome sight to the bleary-eyed revellers. Nighttime in La Dolce Vita is characterised by drunken, hedonistic frivolity. Marcello spends late hours lapping up all that Rome’s ‘sweet life’ has to offer. Which routinely involves attending wild parties, sleeping around, or chasing Anita Ekberg’s Sylvia around the city.

A.O. Scott talks with Keyframe‘s Sam Fragoso about the relevance of movie critics:

In terms of the discovery of films and bringing attention to films that might be overlooked or neglected otherwise, critics still have a role to play, and I don’t think that the critics at the Times are necessarily anomalous. We’re not alone. I feel like—and I don’t have data to back this up—there is an appetite for it. I feel like people still want to read something interesting or thought-provoking or useful about the stuff that they’re seeing. I’m not sure whether in the past there was quite as large as a constituency for film criticism as we sometimes think. It’s always been a minority that has sought out the opinions of critics. Even the great influential ones, like the Pauline Kaels, the Andrews Sarrises, and the Vincent Canbys, were reaching a narrower public than we think.

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