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.
In a Playboy interview, Joaquin Phoenix discusses how he’s evolved as an actor:
Believe me, it’s hard not to be inspired and excited when you work with people like Paul Thomas Anderson, Spike Jonze or Woody Allen. I’m very open to giving myself to the process now and not trying to control it. I think maybe I did that when I was younger. I had specific ideas about how I wanted to play something, and I was quite rigid in a way. I used to try to map things out from start to finish. That started to change a few years ago when I got to work with these wonderful directors who weren’t afraid of uncertainty or of discovering something in the moment. I don’t really know anything about surfing, but I imagine surfers interact with something that’s constantly changing, that feels like it’s alive. I’m after that experience. I’ve been fortunate to work with directors who seem to enjoy that experience as well. I don’t have much ego when it comes to work now.
As David Lynch confirms he’ll be shooting the new Twin Peaks episodes on film, watch Chrysta Bell‘s new music video for All the Things, co-written by the director (via Black Book):
At The New Yorker, Richard Brody on what’s missing from Foxcatcher:
ndependent filmmakers who search for financing for their projects are likely to have met unusual characters with deep pockets and a fascination with movies. Even films with the most earnest and austere artistic inspirations seem to offer a toehold on Hollywood glamour. That mystique gets people outside the movie business to finance independent and low-budget movies—and leads to misunderstandings and bitter conflicts when the plans of filmmakers and the dreams of financiers don’t mesh. Even if the sums at stake aren’t large by Hollywood standards, the egos are—as are the feelings of pride and the scope of the shattered dreams.
Gizmodo goes behind-the-scenes of the best IMAX theater in America:
When I stopped by to look behind the scenes, the IMAX at Lincoln Center was playing the 70mm print of Interstellar. The print is 10 miles long and weighs 600 pounds. To get to the theater it gets transported via forklift and truck and takes 6 hours to assemble once it arrives.
Once assembled, the print has to be threaded through the projector. To do this, the first 20 feet of the print are taken and put through the projector across the room and back into a take-up spool, the winds it back up. There’s a handy diagram on the machine, though the projectionist, like Mike Satran who handled Interstellar, usually know all the steps already.
At The Talkhouse, Alia Shawkat discusses Ana Lily Amirpour’s A Girl Walks Home Alone at Night:
A Girl Walks Home Alone at Night opens like an old black-and-white Western, but set to Arabic music. “Alright,” I thought, “I’m in.” I think I even sat up straighter to get a better view. It has everything I want in a movie: a creeping pace that keeps you entangled, a handsome leading man with pathos, and a badass girl who’s just doing what she has to in order to survive. The film was made in a rural part of California, and the audience gets lost in this strange place, Bad City, where vampires skateboard and thugs are crass and comedic. And it looks amazing; it’s stylized like a graphic novel and every light cuts a sharper line than the last.