La Haine

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.

NYC’s IFC Center has plans to expand, and they could use your help to let city officials know you support it.

Watch Don Cheadle analyze a scene from Miles Ahead:

Xavier Dolan‘s The Death and Life of John F. Donovan begins shooting on July 9th, Le Journal de Quebec reports.

Cinematographer Jeff Cutter discusses shooting 10 Cloverfield Lane with Filmmaker Magazine:

Anamorphic lenses just have a feeling that reminded Dan and I of what it used to be like watching these great widescreen movies when we were kids that were shot anamorphic. It just makes it feel like a big movie and that was something that we really, really wanted. You’re inside this pretty small set with three actors for 90 percent of [10 Cloverfield Lane], but we still wanted the movie to have a big, cinematic feeling.

William Friedkin will give a masterclass at this year’s Cannes Film Festival.

Watch a video essay on the structure of La Haine:

Warren Beatty‘s Howard Hughes movie will by released by 20th Century Fox, but don’t expect it at Cannes, Showbiz 411 reports.

Movie Mezzanine‘s Tina Hassannia questions why they aren’t more women-directed films on home media, and Criterion’s Peter Becker responds:

But if you really want to highlight women’s historical contributions to film, we think you also have to look past the director’s chair. Our producers have made a point of focusing supplemental features on screenwriters including the legendary Suso Cecchi D’Amico, who wrote such classics as Bicycle Thieves, The Leopard, and Salvatore Giuliano, or Altman collaborator Joan Tewkesbury, or Merchant Ivory’s Ruth Prawer Jhabvala; producers Christine Vachon, Laura Bickford, and Sarah Green; cinematographers Sally Bongers and Babette Mangolte; editors Thelma Schoonmaker, Gabriella Cristiani, Maureen Gosling, and the extraordinary codirecting editorial team who worked on the Maysles films: Charlotte Zwerin, Muffie Meyer, Ellen Hovde, and Susan Froemke. Imagine Paul Schrader’s Mishima without visionary production designer Eiko Ishioka, or Godard without Anna Karina, or Bergman without Liv Ullmann and Harriet Andersson, or Akira Kurosawa without his long-standing right-hand person, Teruyo Nogami. We’ve tried to focus attention on all of these women and many others. We know we can always do better, but we are trying to take every opportunity we can to draw attention to the many crucial ways that women have shaped our film culture.

Wim Wenders will direct an Opera for Berlin Company, NY Times reports.

Watch screenwriter Suso Cecchi D’Amico and actor Enzo Staiola discuss working on Bicycle Thieves, now on Criterion Blu-ray:

Composer Abel Korzeniowski will reteam with Tom Ford to score Nocturnal Animals, says Film Music Reporter.

Kent Jones on A Poem is a Naked Person, now on Criterion:

Like a bottled message that has taken forty years to return to shore comes Les Blank’s A Poem Is a Naked Person. For those of us who did not attend the isolated, unannounced screenings that Blank arranged over the years, and who are not steeped in the lore of this singular American filmmaker, the film blasts forth like a fresh wind. This is not an everyday occurrence. We have grown used to minor or seminal works being brought into the light, movies or pieces of movies discovered in mislabeled cans or boxes or rescued from state suppression. But it’s almost unprecedented to suddenly come face-to-face with a largely unknown major work. That’s what we’re dealing with here. Blank’s free-form portrait of the legendary musician and onetime rock star Leon Russell—Tulsa Sound pioneer, core Wrecking Crew member, session piano player for everyone from Sinatra to the Beach
Boys—is an artifact, to be sure. The film brims over with a thousand details and inflections that belong squarely to the years in which it was shot. But it is also a remarkable meditation on and interpretation of those details and inflections, which are lifted and spun through the centrifugal force of Blank’s practice into a magical film experience.

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