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.
Hitfix polled 100 directors for their favorite horror movies and The Exorcist came out on top.
Watch a video essay on how spectacle eclipses story in Interstellar:
At Criterion, Hou Hsiao-hsien on the films that changed his life:
The films that we watched had been made after World War II in different countries. So you had films being made in Italy with neorealism, including Bicycle Thieves. In France you had Godard with Breathless and François Truffaut’s The 400 Blows, and in Germany you had this new cinema with Rainer Werner Fassbinder. These were films we would watch and discuss. We were all filmmakers who had gone abroad to study film, but Yang was an anomaly because he had actually studied science, and was working with computers, but gave up those practices to make films in Taiwan.
Watch a 30-minute talk with Emily Blunt for Sicario:
The Art of the Title breaks down the Crimson Peak credit sequence:
We cut the sequence to a Clint Mansell track from The Fountain. We used it for quite a while actually, and it was later in production that we got the score. But we always knew what instruments were going to be used and the general tone. Our temp track definitely had a much darker tone to it than Fernando Velázquez’s amazing theme.
Listen to a one-hour NYFF roundtable with Wesley Morris, Eric Hynes, Michael Koresky, Aliza Ma, Nicolas Rapold, and Violet Lucca:
At The Talkhouse, Pat Healy discusses Steven Spielberg’s Bridge of Spies:
Bridge of Spies is old school. I mean that in the best possible sense. It’s directed with impeccable taste in every single aspect of its production. It is indisputable that Steven Spielberg is a master filmmaker. An auteur. It’s a well-known maxim that the auteur (or even the film director) is an “arbiter of taste.”