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.
Some of Noah Baumbach’s best films will be screening across the country. See the details here.
The Academy may go back to five Best Picture nominations, THR reports.
Edgar Wright stops by The Criterion Collection closet to pick out his favorites:
Leonardo DiCaprio and Netflix are partnering on upcoming documentary and docu-series projects, The Wrap reports.
At Badass Digest, screenwriter Todd Farmer shares an eye-opening story about going from Hollywood to homelessness:
Sometimes it’s the little things. I have a beautiful daughter. And I love writing. I’ve been truly blessed. I’m a writer. That’s a stunning thing considering I’m a dork from Kentucky. Does not compute! Still to this day, writing this… I have goosebumps. I’m a writer. And have been since 1996. All my life, though, really. My first three years I wrote under contract but have been lucky enough to get one job a year since, give or take a few rough years. That one job would pay off the credit cards and refill the coffers, which would buy time to sell or get the next job. A necessary cycle in the roller coaster of the working screenwriter. High highs and low lows but what a beautiful adventure!
Watch a tribute to the cinematography of Emmanuel Lubezki:
Film School Rejects‘ Landon Palmer on how Maps to the Stars is David Cronenberg‘s first horror film in years:
Over the past decade or so (since Spider, at least), David Cronenberg’s defining cinematic concerns with the mutability of human flesh has given way to explorations of more cerebral transformations. Videodrome’s James Woods-hosted chest vagina transformed into Viggo Mortsensen’s portrayals of two-faced violent men in A History of Violence and Easter Promises. Scanner’s exploding heads and The Fly’s Goldblum/insect hybrid were eventually replaced with Carl Jung’s explorations of the id and Don DeLillo’s ruminations on capital in the 21st century. While Cronenberg’s career arc marks a fascinating evolution of one of our most continually rewarding filmmakers – the journey of a filmmaker not content to reside within the bubble of expectations that engenders “auteur” status – it seemed uncertain whether the director would make another straightforward horror film – or, at least, as straightforward as a horror film can be in the allegory-heavy “venereal” variety that he pretty much invented.
Watch a trailer for the re-release of The Breakfast Club:
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