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Trailering Paul and Tom’s INHERENT VICE (2’01″)

Jesus, it really is a ZAZ joint, is it not? Whoa.

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Matt Zoller Seitz Swoons for “The Knick”

“The greatest sustained display of directorial virtuosity in the history of American TV.” Matt Zoller Seitz Swoons for “The Knick”

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Video Essayist ::kogonada Fixes on “Eyes of Hitchcock” 1’51″

Video Essayist :: kogonada Fixes on “Eyes of Hitchcock” 1’51″

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Lena Dunham’s 11-City Book Tour Will Include Local Talent As Warm-Up, But They Won’t Be Paid

Gawker On NYT Report That Lena Dunham’s 11-City Book Tour Will Include Local Talent As Warm-Up, But They Won’t Be Paid Later – Dunham Responds, Yes, They Will Be Paid

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58-second Australian INTERSTELLAR TV Spot Offers More Plot

[Via Australian TV Sports & Music Almanac.]

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Mark Olsen Sees the “New Dangerous” at the Movies and He Likes It

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What Would SoftBank Be Buying With Its $3.4 Billion Bid For DreamWorks Animation?

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Video Gallery, Another NYC Video Store, Vanishes

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Ben Sachs on the Challenge of Representing Mental Illnesses Onscreen

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66 Nations Submit For Best Foreign Language Oscar; Titles Include Ida, Leviathan, Mommy, Winter Sleep and Two Days, One Night

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Netflix Headed to Belgium

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James Spader on “Extremity” and Compulsion

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David Lynch “Filled With Hope” He Can Make Another Film With Laura Dern

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Air Hollywood Airplane Soundstage Also Holds Fear Of Flying Classes

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David Fincher Met With Lucasfilm About Star Wars: Episode 7; Complications Ensued

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Rose McGowan, director of Dawn

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TIFF ’14: The Theory Of Everything, Redmayne & Jones

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TIFF ’14: Foxcatcher, Steve Carell

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TIFF ’14: Seymour: An Introduction, Ethan & Seymour

MCN Festivals

[Via Australian TV Sports & Music Almanac.]

LA Times

“Filmmakers are pushing not just our cultural buttons but the edges of their own abilities.”
Mark Olsen Sees the “New Dangerous” at the Movies and He Likes It

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato