I'm a huge fan of Tony Scott, both as a filmmaker and as a bloke, and one day I'll dig out the piece I wrote for Premiere about the constant cameo appearance of a baseball cap in his early movies and post it here. 
Zack Synder reveals how he almost cast Brad Pitt as Nite Owl in The Guardian."Editing is storytelling. The notion of invisible or visible editing is an antiquated view about what editing really is. The art of editing is more then a technical craft about seamless building of the raw materials. The dailies footage and recorded sounds are the interpretation of the written text, distilled through the eyes of the director and every other creative contributor during production. They do not constitute a predetermined film narrative. For me the art of editing is being able to crystallize the dramatic ideas into a coherent and entertaining series of images and sounds, that most fully emerge the viewer into the suspension of disbelief and bring the experience of the film to its fullest. Editing makes the artificial feel real. When a film works, then all the elements of technique become invisible and in turn leave a visible imprint on the mind and heart of the viewer." Pietro Scalia, from Cineaste, March 2009
I'm not old enough to remember Neil Armstrong walking on the moon, but the Apollo 11 mission and the subsequent lunar landings, as well as the various Space Shuttle trips, have always fascinated me. As a kid I built space rockets and knew who every astronaut was. I've visited the Kennedy Space Centre in Florida, and have even been to the original Mission Control in Houston where the Apollo missions were co-ordinated from, so I guess you could call me a space geek. 
Make sure you check out Tim Burton's Official Website which has had a funky overhaul in preparation for the autumn launch of The Art of Tim Burton and which lets you move Stain Boy around a virtual gallery of Burton's artwork.
Guillermo del Toro's film version of The Hobbit could be killed off in a pending battle between a Hollywood giant and the family of the book's author, JRR Tolkien," writes Xan Brooks. "The heirs to the Tolkien estate are suing New Line Cinema, the studio behind the Lord Of The Rings adaptations, claiming $220m (£133m) in compensation for undistributed profits from the films. For good measure, they are also demanding the option to terminate further film rights to Tolkien's work, citing breach of contract.
"Should the case go all the way to trial, we are confident that New Line will lose its rights to The Hobbit," said Bonnie Eskenazi, the lawyer working for the author's son, Christopher, and the family's charity, the Tolkien Trust. The case – officially billed as Christopher Reuel Tolkien v New Line Cinema Corp – is due to be heard at Los Angeles superior court in October.
Empire Online has posted hi-res versions of Mary Ellen Mark's photos that appeared in Vanity Fair, as well as this exclusive shot of Anne Hathaway's White Queen. And no, that's not the Dormouse, in case you were wondering.
Steven Soderbergh tells The Guardian the experience of shooting Che, plus the last-minute cancellation of Moneyball, has left him reeling. "In terms of my career, I can see the end of it," he says. "I've had that sensation for a few years now. And so I've got a list of stuff that I want to do — that I hope I can do — and once that's all finished I may just disappear."
I haven't seen Susanne Bier's Brothers, of which this Jim Sheridan-directed movie is a remake. But I love his cast and I sure love this spare and elegant poster. If the film is as half as good, I'll be happy.
Criterion are bringing out Repulsion on Blu-ray and while my Region B player won't play the damn thing, that's no reason not to run this lovely 1080p screen grab featuring the truly stunning Catherine Denevue that I found on the indispensable DVDBeaver. Luckily the film's also available on Standard Def DVD. Now, here's a title I really don't mind double-dipping on.
A few, quick thoughts for those of you eager to know about The Imaginarium Of Doctor Parnassus. 
I visited the set of Mark Tonderai's UK road thriller HUSH in September 2007 and my report can finally be seen in the pages of this month's Fangoria, on sale now.
I love the choice of Let The Right One In director Tomas Alfredson for Working Title's feature-length version of the John le Carré Cold War thriller Tinker, Tailor, Soldier, Spy. The 1979 BBC adaptation which starred Alex Guiness as George Smiley was brilliant television, and the recent Radio Four series the Complete Smiley had really wetted my appetite for seeing the spymaster on the big screen. Peter Morgan has been charged with adapting the material.
The transcript from Wednesday night's Q&A with Moon director Duncan Jones and producer Stuart Fenegan will be online soon, along with footage from the event. I will link to them when they appear.
I saw Moon last night in preparation for an onstage interview I'm hosting with the film's director Duncan Jones at the BFI Southbank tomorrow night, and all I can say now is that it's a quite brilliant piece of filmmaking, one that marks the arrival of a major, major directing talent. Smart, tense, with a terrifically contained script by Nathan Parker and a wonderful performance from Sam Rockwell, it is, however, almost impossible to talk about without spoiling. So, instead, you should go see it when it's released in the UK on July 17.
