Dailies is a round-up of essential film writing, news bits, 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.
David Cronenberg‘s The Fly is getting a sequel in comic book form, THR reports.
At Vulture, Bilge Ebiri on the perils of an all-digital movie future:
The speed with which digital cinema took over the world has been nothing short of astonishing. Back in 2007, researchers forecasted that around 50 percent of the world’s movie screens would be digital by 2013 — which seemed like a pretty sci-fi prognostication at the time. In fact, by the end of 2013, the figure was closer to 90 percent. Last month, Christopher Nolan made news by actually daring to release Interstellar early to some theaters on 35mm (and 70mm) film. Within a few years, photochemical film has gone from an industry standard to a novelty act. Progress, right? Digital files, as we’ve been told over and over again, don’t decay and fade and damage the way celluloid film does.
Cary Fukunaga, Edgar Wright, Mia Hansen-Løve, Jonathan Nolan, and more will lead the Sundance 2015 juries.
Watch an 18-year-old Audrey Hepburn‘s acting debut:
At The Talkhouse, David Lowery discusses Winter Sleep:
Nuri Bilge Ceylan’s Winter Sleep is a very good film with a difficult road ahead of it. It is a film so openly possessed of the noble, magisterial possibilities of cinema that it almost feels like an open target. Consider its title, for example, which, though lovely, conjures up plenty of pejoratives all on its lonesome, even before one considers that it is attached to a film that is 196 minutes in length, one largely composed of very serious, very heady conversations, all set to a soundtrack of fierce Anatolian winds and the occasional Schubert piano sonata. It seems daunting. It is daunting. I’ve been looking forward to the film since it won the Palme d’Or at Cannes earlier this year, and even so, I dragged my feet when it came time to watch it. It feels a little bit like homework.
Also at The Talkhouse, Lawrence Michael Levine (Wild Canaries) discusses Mr. Turner:
After 15 years, I’ve found that my life as a filmmaker has fallen into a repetitive sequence. First, I get a vague idea for a film. The origins of these inspiring notions are unpredictable — a dream, an overheard piece of dialogue, a humiliation that one of my friends is suffering through. Since I am looking for a film to do, my mind keeps returning to these little triggers, conjuring scenarios. Always, one of these notions floats to the forefront of my mind, suggesting a beginning and end. Usually I work for three months to figure out what my middle will be, then another three to write the script.