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.
Vimeo has announced they are introducing a YouTube-esque Copyright Match:
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At The Film Experience, Andrew Kendall looks back at Certified Copy:
Certified Copy, my favourite of the decade (thus far), is remembered most often for its cerebral nature, a puzzle we must solve. Yes, much of it is rumination on theory but it’s theory with passion and feeling. For all of its technical and intellectual merit, it’s also a love letter to Binoche from writer/director Abbas Kiarostami.
In related news, Abbas Kiarostami, who recently unveiled the winners of Cinéfondation Selection, was interviewed by Cannes:
My first film was extremely difficult to make. As luck would have it, it was a big hit and was recognised. For me, that didn’t mean that I would become a filmmaker. I believed that this chapter was over and that I would not make any more films. Nevertheless, I did make more films, and then I made even more of them. When I made my first feature film, I told myself that I should take stock of the fact that being a filmmaker was my job. For this first film, I encountered two types of audiences: one was composed of people who loved my films and the other, larger group did not like them at all. That is still true today.
After reading our tribute, watch Fandor‘s video essay on the films of the late Michael Glawogger:
At Grantland, Claire L. Evans explores why Godzilla is still king of the monsters:
Relatively speaking, Godzilla started small. When the king of all monsters first emerged from the sea, nine years after the bombs fell on Hiroshima and Nagasaki, the tallest buildings in pre-industrial Tokyo just about flanked his shoulders. In the 28-film-strong Japanese franchise that followed, Godzilla’s dimensions yo-yoed, but by 1998 — the year of Roland Emmerich’s American Godzilla, which reimagined the god lizard as a souped-up T. rex — he’d at least doubled in size. Now, in Gareth Edwards’s moody, brilliant Godzilla, he is 350 feet tall, the largest incarnation of the monster.
Watch a video on the cinematography of Jeff Cronenweth: