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.

At LA Weekly, Quentin Tarantino reveals his plans to turn New Beverly into a film-only haven:

I want the New Beverly to be a bastion for 35 millimeter films. I want it to stand for something. When you see a film on the New Beverly calendar, you don’t have to ask whether it’s going to be shown in DCP [Digital Cinema Projection] or in 35 millimeter. You know it’s playing in 35 because it’s the New Beverly.

Michael [Torgan] brought in digital for the simple fact that besides being a revival house, the New Beverly is an art film second-run house. So, if Frances Ha does well in general release, a month or two later, it plays at the New Beverly, along with something similar. But the companies that release those kinds of movies don’t even make prints anymore. My feeling is, ‘Fuck those guys.’ I want young filmmakers to want their movie to screen at the New Beverly so badly that they demand a print as part of the deal they make with Magnolia or Roadside Attractions or whoever. ‘You have to strike a 35 millimeter print so we can show it at the New Beverly! You’re not paying me jack-shit, you’re ripping me off, but that’s one thing you can do!’ [Laughs. Heartily.]

At Flavorwire, Jason Bailey on how the obsession with awards is ruining fall film festivals:

Today marks the kick-off of the Toronto International Film Festival, a massive ten-day orgy of movies big and small from all over the world. It follows last weekend’s Telluride Film Festival, a cozier but no lower-profile Colorado gathering of film lovers, film critics, and filmmakers. Your film editor, sadly, was/is at neither (Kickstarter for next year forthcoming). But I’ve been reading about them for decades, most often (and earliest) from the pen of Roger Ebert, who called Telluride “one of the best experiences a film lover can have,” and dubbed Toronto “the world’s top festival for — well, for moviegoers.” He wrote those words in 1999 and 1998, respectively, and I get the feeling the focus of these festivals has changed quite a bit in the years since. Maybe they’re still prized destinations for film lovers, but just about all I’m reading out of them are dispatches on what each new premiere does to next year’s Oscar race. At risk of putting too fine a point on it, who gives a shit?

Flaherty Seminar and Cinema Guild are teaming to launch a curated series on filmmaking available digitally.

At The Dissolve, Nathan Rabin on the long cons of Rian Johnson:

The first triumph of Rian Johnson’s fiendishly clever 2005 directorial debut Brick is that it isn’t terrible. In the wrong hands, the film’s central conceit—juxtaposing the shadowy, cynical world of film noir and hard-boiled fiction with the even grimmer, even more shadowy and cynical world of contemporary high-school life—could be smug and self-satisfied. The key to Brick’s success lies in two qualities.

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