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Dailies is a round-up of essential film writing, news bits, videos, 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.

Edward Yang’s little-seen The Terrorizers will get its first theatrical run at BAMcinematek from October 21 through 27.

Watch a video essay on the search for family in There Will Be Blood:

Little White Lies‘ Nick Chen on how Brian De Palma influenced the films of Noah Baumbach:

If Hitchcock is a language, then De Palma has been fluent in it for decades: Obsession is Vertigo, Body Double is Rear Window, and so on. “I was the one practitioner that took up the things he pioneered,” De Palma asserts in Baumbach’s film. Alternatively, there’s Blow Out – often deemed the most representative of his aesthetic – which recalibrates Michelangelo Antonioni’s Blow-Up through a pulpy lens. Baumbach, on the other hand, waited until Frances Ha for an inarguable homage to classic cinema: Greta Gerwig bouncing along the pavement to David Bowie’s ‘Modern Love’, emulating Denis Lavant in Leos Carax’s Mauvais Sang.

Watch a new Harmony Korine-directed ad for a Yves Saint Laurent perfume:

At Vulture, Angelo Badalamenti tells the stories behind 5 songs from Twin Peaks:

“David said I should compose something that’s more rhythmic than anything we had done before, so we started with [finger] snaps. Those snaps were generated on a very early computer, believe it or not. Then we found a tempo and bass line. The beautiful part about it was when I called the session to record it, a good friend of mine, Al Regni, a saxophone player, was able to record with me. We were in the same college class together. Al was in town doing other recording sessions and I said to him, ‘I gotta do a song that has a really jazzy and bluesy feel to it.’ I laid down a basic track with rhythm, piano, bass, drum, vibes, guitar, and I really needed the saxophone. I had written for Al six or seven bars of the opening motif lines. That’s all Al needed. Right from there, he started improvising, he just went with it. Before you knew it, David said, ‘My god, this is good for The Man From Another Place.’ I owe that all to Al, he played that sax so beautifully.

Watch a discussion on Hell or High Water featuring the cast:

Joe Dante picks his 13 favorite films at The Quietus:

That takes me to Lubitsch, where my favourite Lubitsch picture—again, hard to choose—is To Be Or Not to Be, which I think is one if the great movies of the ‘40s. It’s an incredibly angry comedy made by a man who sees Europe about to completely fall apart, and stars Jack Benny in his greatest role. Again, it’s a movie that mixes humour with things that at the time were considered so tasteless that people were shocked that anybody could be making a movie about this subject. But it is genuinely funny, and it comes from character humour and an incredible cast. And I liked Mel Brooks, but I never quite understood his decision to remake that picture, because It was so of its time. What really works about the movie is that you can feel the world around it, you know, you can… it encroaches on the movie because you know what was really going on. When people saw the movie originally they weren’t quite aware of how bad things were in the camps, but they knew that they were not good. I think the revelations that have come out since have made people look at the movie a little askance. Like he’s making fun of people being shoved into the pits with bulldozers. Well no, not quite, but it’s still a great film. Just to say it’s your favourite Lubitsch movie, that’s a pretty high mark.

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