Dailies is a round-up of essential film writing, news bits, 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.
“In terms of the amount of interesting roles there are for women it’s obviously massively sexist,” Carey Mulligan tells Time Out London (via RTE). “There’s a lack of material for women. A lack of great stories for women.”
Christopher Nolan teams with Martin Scorsese, joining the board of the Film Foundation, which helps to preserve films, Variety reports. Speaking of, watch the latter director discuss The River, recently released on Criterion:
The Dissolve‘s Judy Berman on what Dogme 95 did for women directors:
Dogme 95 was born in March 1995, with the quintessential act of machismo: a thrown gauntlet. At a conference celebrating a hundred years of cinema and looking ahead to its future, Lars von Trier read the movement’s manifesto and “Vow Of Chastity,” then thrust red pamphlets containing both documents into the audience and left the building. He had delivered not just a rant against expensive Hollywood spectacles and the avant-garde’s descent into complacence, but also, in the “Vow,” a set of 10 rules aimed at liberating the art form from the excesses of technology, genre, and directorial ego.
Watch a video essay on the economy of storytelling in Back to the Future:
Keyframe‘s Sean Axmaker on Orson Welles as The Enigmatic Independent:
The legend of Orson Welles looms so large it overtakes the man, a legend partly engineered by Welles himself from his beginnings in the theater. Welles was the enfant terrible of Broadway, the Depression-era hope of American Theater, the radical genius of radio. He came to Hollywood in grand style and on his own terms, a display of egotism so great that the Hollywood establishment turned up its nose and waited for his comeuppance. And he got it three times filled and running over, as far as they are concerned.