Dailies is a round-up of essential film writing, news bits, and other highlights from our colleagues across the Internet — and, occasionally, our own writers. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
The New York Post has 64 clips of movies you can’t find on DVD.
At Film School Rejects, Landon Palmer looks at how A24 is the house of star-altering performances:
Lionsgate was a pioneering label for brooding dramas, compelling imports and insightful nonfiction until it partnered with Tyler Perry, Jigsaw, and a certain YA book series. Miramax was the flagship of envelope-pushing American indies until the Weinsteins became better known for re-cutting films than for supporting filmmakers. Focus Features was the home of young early-aughts visionaries like Sofia Coppola, Michel Gondry and Joe Wright until CEO James Schamus was ousted to “broaden its portfolio.”
As indie distributors and studio subsidiaries refocus their efforts towards studio-sized earnings, their previously coherent brand identities as vessels of imaginative filmmaking quickly fade out. Since the indie boom of the ‘90s gave way to the ‘00’s bottom lines, it’s been increasingly difficult and frustrating to rely on name distributors to continually devote their efforts toward risky films.
Telluride Film Festival has tapped Guy Maddin and Kim Morgan as this year’s guest directors.
At Munchies, David Lynch’s philosophy on drinking coffee:
For me, it’s the flavor. It should have no bitterness, and it should be smooth and rich in flavor. I like to drink espresso with milk, like a latte or a cappuccino, but the espresso should have a golden foam. It can be so beautiful, Helen.
Read Vladimir Nabokov‘s unpublished screenplay notes for Lolita, thanks to Vice:
