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.
The Criterion Collection will launch in the U.K., Variety reports:
SPHE will bring selected titles from Criterion’s extensive catalog and future new release slate to the U.K. for the first time. The first wave of films, featuring all the supplements from the U.S. editions along with their exclusive artwork and packaging, are “Grey Gardens,” “It Happened One Night,” Roman Polanski’s “Macbeth,” “Only Angels Have Wings,” “Speedy” and “Tootsie.”
Watch Bradford Young discuss shooting Denis Villeneuve‘s Story of Your Life:
David Bordwell looks at Tony Rayns‘ new book on In the Mood For Love:
In fewer than a hundred pages, many of which are occupied with color illustrations, Tony has done a lot. We get background on the production, with attention to Wong’s circuitous creative process. Beginning as Summer in Beijing, the project underwent constant rethinking, reshooting, re-editing, along with modifications even after the festival premiere. Tony draws attention to the film’s parallel with Days of Being Wild, also set in 1960s Hong Kong and Wong’s first essay in revise-as-you-go production.
Damien Chazelle‘s La La Land, one of our most-anticipated of the year, has been pushed back from July to December 2nd limited release and December 16th wide release.
Listen to a one-hour talk with Michael Barker and Tom Bernard, who run Sony Pictures Classics:
Saoirse Ronan interviews Jodie Foster at Interview Magazine:
I’d prefer not to act in the film I’m directing. I think, though, as an actor, you do learn how to turn things on and off quickly and kind of compartmentalize. You learn to accommodate the camera and the other actors, to notice where the boom is and where you mark is, and be able to repeat something a few times. So there is one part of you that is completely immersed in the scene, and then there is the other part of you that is looking over your shoulder and paying attention. You learn how to play the drums and be the conductor who understands where the beat is supposed to go—choreographer and dancer at the same time. At least it’s all a part of the same thing, the same movie. Where I have problems is when I am in the midst of doing something that I am completely focused on, and then I am asked to buy shoes or something.
Watch a video essay on CGI and embracing the intangible:
Christianity Today‘s Brett McCracken on Knight of Cups and the spirituality of sleaze:
Never have I seen a movie so full of beautiful imagery and sound, yet so simultaneously empty, unsatisfying, and downright sleazy, as Terrence Malick’s Knight of Cups. But this is precisely its point. The film’s 118-minute parade of bodies, beaches, and landscapes, accompanied by painfully brief snippets of Grieg, Debussy and Vaughan Williams, provides a glut of beauty that is also a deprivation. Always parts, never a whole. Fragments of pleasure, blips of meaning, a stream of consumables not unlike the disconnected feeds and curated media experiences of our iPhone lives.
Watch the trailer for Mapplethorpe: Look at the Pictures (review), airing on HBO on April 4th:
LA Times‘ Christopher Hawthorne on what Terrence Malick‘s Knight of Cups says about L.A. and its architecture:
Aside from the kind of enveloping beauty that only movies with this level of fastidious commitment to the medium can deliver — and that is not nothing — there is little in “Knight of Cups” that you couldn’t plausibly re-create at home by putting Arvo Part or Claude Debussy on a Spotify loop and scrolling through the Instagram highlights of Iwan Baan, Dezeen and Jim Goldstein (Lautner owner, LACMA patron and like Malick a fan of images of half-naked women in swimming pools).