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.
It’s not Lost in Translation 2, but Bill Murray will star in a Sofia Coppola-directed Christmas special, Variety reports.
Steve McQueen‘s next project is confirmed to be the HBO pilot Codes of Conduct, starring Devon Terrell, THR reports.
Go behind-the-scenes of Gone Girl‘s post-production process with an Adobe Premiere featurette (via /Film):
Bertrand Tavernier’s expansive documentary on the history for French cinema will be completed by 2016, Variety reports.
At The Dissolve, Scott Tobias on the case against cinematic universes:
So without questioning the business rationale behind the cinematic universe—or even the entertainment value of many of the Marvel films so far—news that other such projects are on the way is dispiriting in the extreme. Part of it is they don’t sound promising; Marvel comics mixed, matched, and combined characters long before the MCU existed, but a series spearheaded by Dracula Untold, or the possibility of a grittier, edgier, 21st-century-friendly Friar Tuck is significantly less exciting on its face. But if you value movies primarily as a form of personal expression, and you’re aware that Krzysztof Kieslowski has been dead for nearly 20 years, then the move toward bonding and cross-pollination is about as anti-cinema as it gets.
Roy Andersson‘s A Pigeon Sat On A Branch Reflecting On Existence (our review) will be released by Magnolia next year, presented by Darren Aronofsky and Alejandro González Iñárritu.
At New York Times, J. Hoberman discusses a pair of Fritz Lang features:
No filmmaker more fully embodies the history of movies, at least until the mid-1960s, than Fritz Lang (1890-1976). Born in Vienna, Lang was the most commanding figure in German silent cinema. There is scarcely a popular genre — including science fiction, period spectacle, espionage, gangster and horror — that did not pass through his hands and does not bear his mark. “M” (1931), his first talkie and official masterpiece, is the original portrait of a serial killer; once in Hollywood, he created the prototype for “Bonnie and Clyde,” and pioneered film noir.