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 Interview Magazine, Tom Hardy talks to Matthias Schoenaerts:
TOM HARDY: I’ll just be a bit boring and blow smoke up your ass for a moment, but there’s very few actors out there like you, who love the work and participate at such a high level. When you turned up on set [of The Drop] with the best Brooklyn accent in the world, and English not being your first language, that was very hard to handle. But on the other hand, I didn’t know you were such a talented graffiti artist. What’s with that?
MATTHIAS SCHOENAERTS: That’s something I’ve been doing ever since I was … I don’t know, 13, 14. As a kid, I had a lot of books about painters; I was totally absorbed and obsessed. It’s something that always stayed with me and became more and more of a passion. Every now and then I go back to it when I’m in between shoots. I just rented a studio. I’ll get out there and start making canvases, or I get into the city, pick a wall, and paint it. It has a meditative effect on me because it doesn’t involve so many people. I think filmmaking is fantastic between “action” and “cut.” But everything around it is such a hassle. What I like about painting, it’s me and the wall or the canvas. I love just being able to take that time without anyone breaking my head about anything. That freedom brings me a lot of peace and allows me to go back to the madness afterwards.
Watch a recent 30-minute conversation with Agnès Varda, who will be awarded an honorary Palme d’Or at Cannes:
The Locarno Film Festival will honor Marco Bellocchio and screen his restored Fists in the Pocket, Variety reports.
Little White Lies‘ David Ehrlich on the films to watch before seeing Mad Max: Fury Road:
George Miller has described Fury Road as “A Western on wheels,” an accurate assessment that nevertheless feels a touch redundant—traditionally, some of the genre’s best and / or most formative films have forsaken saddles for axles. Exhibit A, and really the only one you need: John Ford’s legendary Stagecoach, in which a motley crew of passengers are driven through Apache territory as their vulnerable little wagon tries to makes its way from Arizona to New Mexico. The elegantly linear and streamlined Fury Road lifts any number of tropes from Ford’s classic, but the baldness with which it borrows that film’s snowballing plot construction makes for Miller’s most striking nod. Both stories rise and fall with the loud-quiet-loud rhythm of a Pixies song, introducing new characters to the party as their respective vehicles break down (yes, that does imply that Nicholas Hoult’s Nux is essentially playing the John Wayne part). The similarities also trickle down to the details, particularly in regards to a shared preoccupation with dwindling ammunition—both Ford and Miller are sure to make every shot count.
Watch Mubi‘s new video essay on the systems of light in Twin Peaks: