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Success of ‘It Follows,’ Editing as Punctuation, Spaces of John Cassavettes, and More

Written by on September 21, 2015 


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.

A tribute to Albert Maysles will be held during the 2015 NYFF.

Those in the U.K. will be able to see Beasts of No Nation at select Curzon cinemas on October 16th, Deadline reports.

Watch a 20-minute video essay on editing as punctuation in film history:

Filmmaker Magazine‘s Sarah Salovaara on surprising facts about the success of It Follows:

Quinn was determined to get the film in front of a 25-and-under audience given its adolescent protagonists, but he also made a play for older John Carpenter fans. Nevertheless, the film did not perform well in test screenings, and all of the theatrical exhibitors passed on it with the exception of the Arclight chain. When it made $7,000 in ticket sales on Thursday, March 12, the night before its official opening, Radius immediately decided to pull VOD and spent the next three days putting together a wide release for March 27. Radius’s gamble was right on the money: the film went on to gross $160,089 in just four theaters on its opening weekend.

Watch a video essay on the spaces of seduction in the films of John Cassavettes:

At The Talkhouse, Erik Crary, director of the recommended Uncle John, discusses working for David Lynch:

I started working for David at a pretty unique time. Reshoots for Mulholland Drive were just finishing up and postproduction was kicking off, which was a process I had always badly wanted to be around because I had very little idea how actual celluloid post on that scale worked. It works slowly. The next big undertaking was DavidLynch.com, which was beyond exciting because the problem set was completely different and exactly what I was interested in. People were still working out platforms, pay-subscription models and the Internet in general, but there was a sudden and gigantic need for content, and production went into full effect. Small crews, lots of hats, digital cameras, minimal gear and quick schedules – that was how we operated. This approach continued and evolved over the course of several projects, all the way through completion and distribution of Inland Empire. I absorbed a huge amount while at David’s company, Asymmetrical Productions, and being around during these projects gave me some of the most impactful educational experiences of my life. I learned more about common-sense production, working as a tight crew, problem-solving, logistics, and relationships than I could have possibly imagined.

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