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.
Don Cheadle‘s directorial debut, Miles Ahead, will close the 53rd New York Film Festival.
Watch 10 essential TED Talks for filmmakers, thanks to No Film School:
Martin Scorsese’s The King of Comedy will adapted for Broadway, Variety reports:
Rupert Pupkin’s delusions of latenight grandeur will soon be set to music. Stephen Trask, the composer and lyricist behind “Hedwig & The Angry Inch,” and Chris D’Arienzo, the author of “Rock of Ages,” will adapt “The King of Comedy” for the Broadway stage.
New Regency will back the musical, which draws on Martin Scorsese’s 1983 black comedy of the same name. The company’s founder Arnon Milchan produced the film, which sent up celebrity worship and starred Robert De Niro and Jerry Lewis. It centers on an aspiring comedian who kidnaps a talk show host in the hopes of forcing his way onto television.
Watch a trailer for the Portland-based Northwest Film Center’s upcoming series on the influences of Paul Thomas Anderson:
The excellent Son of Saul and more will screen at Sarajevo Film Festival, Screen Daily reports.
At Letterboxd, Vadim Rizov on the amazingly politically/socially/sexually progressive Magic Mike XXL:
Structurally, Magic Mike XXL seems to be a very loose riff on Nashville, likewise building to a rally on the 4th of July that inverts the awful stripping scene in Altman’s film. It’s an oddly patriotic movie — all those flags at the end, and fireworks to boot! — and, in a similarly conscious zeitgeisty-y way, posits what the US is (or could be!) as a country. The dancers themselves are sometimes uncertain about their social value, and age is catching up with Tarzan (the IRL wrestling-batttle-scarred Kevin Nash), and it’s entirely apposite (to me) that a key setpiece is set to Backstreet Boys’ “I Want It That Way”; Stephen Kijak’s recent doc on the group’s reformation (commissioned by the Boys themselves) similarly emphasizes the inherent tension of trying to maintain youthful energy and physical poise while the body goes against you. The Backstreet Boys are also an apt topic of diccussion of XXL, which is also admirably specific about the weird entertainment industry culture of Orlando, where aspiring stars hope someone sees them at Disney World and Lou Pearlman could flourish by locking up talented young men for hours in warehouses to practice.