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.
Quentin Tarantino names Mad Max: Fury Road his favorite movie of 2015:
The Guardian‘s Calum Marsh on why awards season is to blame for screener leaks:
This kind of piracy, in other words, is at least partly a problem of timing. The Revenant and The Hateful Eight are opening at the very end of 2015 minimally, in major markets, for the simple reason that their studios wish for them to qualify for this year’s Academy Awards; the “proper” release, the worldwide rollout, they are reserving for the following month. This system is precisely the problem. As the reviews glow and the Oscar buzz deafens, the ordinary moviegoer is left to look on covetously. The only people welcome to watch the film early are those empowered to laud it. And it’s during that period of exclusivity – when the movie is circulating among voting bodies but to an eager viewer remains out of reach – when pirates are most likely to strike. It’s hardly surprising. The pirates have a captive audience.
Charlotte Rampling and Andrew Haigh visit The Criterion Collection closet:
A Charlie Kaufman retrospective is coming next month to select Landmark Theaters:
Paramount Pictures and Landmark Theatres present a Charlie Kaufman Retrospective featuring the work of the Academy Award®-winning filmmaker exclusively at Landmark Theatres in New York, Los Angeles, Chicago and San Francisco. The four-day retrospective will run January 4 – 7, 2016 with special screenings of five of Kaufman’s most critically acclaimed films: “BEING JOHN MALKOVICH,” “ADAPTATION,” “ETERNAL SUNSHINE OF THE SPOTLESS MIND,” “SYNECDOCHE, NEW YORK,” and his latest film with co-director Duke Johnson, the Golden Globe-nominated stop-motion animated feature “ANOMALISA.
Speaking of Anomalisa, watch a recent chat about the film:
At The Talkhouse, Neil Marshall discusses Alejandro G. Iñárritu’s The Revenant:
Capturing violence on screen and making it feel immediate and shocking, without it becoming over-the-top or outlandish, is no mean feat. Believe me, I’ve tried it many times and probably blown it more often than hit the mark. It’s a very fine line and here Iñárritu nails the tone perfectly. I guess I’m the perfect audience for this kind of thing. I like my brutal reality to be brutal and realistic. Others may find it hard to stomach. The violence and pain – sold so brilliantly by the performances as much as by the way they are captured on screen – draw you in, and when other movies may choose to cut away, Iñárritu stays with it, holding on a shot or a character until they become victor or victim.
Watch a 45-minute talk with Adam McKay on The Big Short: