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.
One of these 124 films will win 2016’s Best Documentary Oscar.
Backed by Elijah Wood, Simon Pegg, George A. Romero, and more, The Shining hotel unveiled plans to create a $24 million, 43,000-square-foot horror film center:
“I would love to have a home for which we could constantly come year-round and celebrate with other fans from around the world,” said Elijah Wood. “There’s really no better place for there to be a permanent home for the celebration of horror as an art form than the Stanley Hotel. It was practically built for it.”
Designed by award winning, Denver-based MOA Architecture, the Film Center features multiple indoor and outdoor entertainment venues, all with views of Rocky Mountain National Park, including a 500-seat auditorium; a 30,000 sq. ft., interactive museum and discovery center, featuring rotating exhibits such as The Walking Dead; a 3,000 sq. ft. soundstage; classrooms and workshop spaces; and cutting-edge post-production and editing suites.
Watch a video essay on the use of single, then two shots in Lost in Translation:
The Mend director John Magary discusses The Assassin at The Talkhouse:
I was first introduced to the cinema of Hou Hsiao-hsien by my friend Brian. It was about 14 years ago. We were in a Denny’s probably, or driving around Dallas. Brian didn’t show me a movie; he just, from memory, described a shot, very wide, almost theatrical. Whole bodies visible. Right in the middle-depth of the frame, a guy, an extra of little consequence, walks into the background (or foreground?) and lights his pipe and then walks out of frame. The way Brian enthusiastically described it, the shot sounded plain, but also, in a weird way, like nothing I’d seen before. “It feels like life!” he exclaimed. I still don’t know which movie he was talking about. Maybe it was Flowers of Shanghai. Maybe it was A City of Sadness.
Heart of a Dog director Laurie Anderson stops by the Criterion closet:
Filmmmaker Magazine‘s Matt Mulcahey talks to Back to the Future DP Dean Cundey:
We shot Doc and Marty on a bluescreen so they could be composited in. I remember that they developed a very specific mixture of fluids that would burn with the right amount of blue flame and bright yellow flame. It was a mixture of three or four different flammable liquids that were (dispensed) through a special sprayer, which was a tank on wheels with two nozzles that would spray the liquid onto the pavement the exact distance (apart) of the (DeLorean’s) wheels.