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.
Cannes Film Festival have announced their Un Certain Regard and Caméra d’Or juries.
Watch J. Hoberman‘s one-hour lecture on 21st-century cinema (via Refocused Media):
At The Dissolve, David Ehrlich explores how indie musicians are reinventing film music:
It wasn’t necessarily clear on the evening of February 27, 2011, but Trent Reznor and Atticus Ross winning an Academy Award for the dissonant industrial score for The Social Network, beating the likes of Hans Zimmer and his protégé John Powell, was a watershed moment. Zimmer lost for Inception, the “Braaahmms!” that soon became ubiquitous in both movies and their marketing, but the impact of the win had less to do with the music than with the musicians. The Academy had vouched for rock stars before, but giving an Oscar to the mastermind of Nine Inch Nails isn’t the same as giving one to Talking Heads frontman David Byrne for helping Ryuichi Sakamoto and Cong Su evoke traditional Chinese compositions in The Last Emperor. In an instant, the same award for which John Williams had been nominated 44 times belonged to the guy who wrote “Closer,” and suddenly anything seemed possible.
Peter Labuza interviews Sam Adams and talks The Long Goodbye on the latest episode of The Cinephiliacs.
Watch the Spike Lee-directed video for Eminem‘s Headlights.