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.
Cinema Guild has picked up Eric Rohmer’s A Summer’s Tale (review), Roberto Minervini’s Stop The Pounding Heart (review), Simon Gross’ In Bloom and more for VOD distribution, Screen Daily reports.
Watch Paul Thomas Anderson talk Inherent Vice and the documentary Mondo Hollywood at AFI Fest [via Cigs & Red Vines]:
At Nonfics, Christopher Campbell on why it’s time to stop calling observational documentaries “fly on the wall”:
The term “fly on the wall” is typically credited to Ricky Leacock, though I’m unaware of the source of that claim, and true or not his coinage is only as it pertains to documentary filmmaking. As one of the pioneers of the observational style of the 1960s, he joined Robert Drew and others in the Direct Cinema school, and variations of the phrase might have been stated by any of them. For example, Drew once said while shooting 1963’s Crisis: A Presidential Commitment that they “became part of the woodwork there as we did most every place else.”
Watch Michael Shannon torment Michael Shannon in Deerhoof‘s Exit Only music video:
IMAX will skip The Hunger Games: Mockingjay – Part 1 release and stick with Interstellar, The Wrap reports.
At Screen Crush, Matt Singer on the futility of nitpicking articles:
Every author is entitled to dramatic license, and every movie is entitled to create its own rules. That’s why we accept the fact that the X-Wings in ‘Star Wars’ make swooshing noise in the vacuum of space, or the transporters in ‘Star Trek’ can teleport people thousands of miles in the blink of an eye. These devices—which are obviously not scientifically accurate—makes their films more exciting and entertaining. They may not make sense in our world, but as long as they make sense in the world of the film (and they’re used consistently) that’s all that matters.