Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

Fast to Create: How 6 Great Proof-Of-Concept Shorts Spawned Feature Film Deals

Vox: The worst movies with the biggest box office – Michael Bay’s Transformer films are, statistically, the biggest lightning rods. I will not defend them, but Armageddon is also on the list. And that’s definitely the fault of the critics.

The Memory Palace tells the incredible true story of MGM’s lion (podcast)

The A.V. Club: The villain gap: Why Soviet movies rarely had American bad guys

Movie Mezzanine has an in depth article that starts by exploring the dearth of female directed films on boutique labels and goes much deeper… “For a while, Warner refused to sub-license and instead took the cheapest shortcut in releasing films: they threw a bunch of titles on VOD platforms without doing any restoration work on them. This is why sub-licensing is so important. If you give DVD distributors a chance to beautify a beloved classic, everyone benefits: the studio, the DVD distributor, and cinephiles alike.” Also read Criterion’s response

Slant Magazine: 100 Essential Films – The list is from 2003, but it’s been going around this week. Lots of provocative and interesting choices for alternative ‘classics’.

City Absurdia: The Phantom Menace: the Most Influential Film of the Nineties? (Video)

Deadline sat down some Hollywood lawyers to talk about The People vs. OJ Simpson, but they also addressed the movie industry:

ZIFFREN: I’ll give you some startling numbers. In the United States, one-third of the populous does not see one movie in a theater in a year. One-third.

DEADLINE: I’ve heard that figure before and I always find it hard to believe.

SINGER: You think it’s too high?

DEADLINE: I think it’s too low.

SINGER: I agree with that. I think it’s more than a third.

GLASER: It’s high.

ZIFFREN: The next step is of the remaining two-thirds, there are roughly more than half of the remainder who go to one to five movies a year. Eleven percent of the populous buys 52% of the tickets.

GLASER: That’s interesting.

SINGER: That’s amazing.

ZIFFREN: Here is the real problem. The problem is those are not the 18 to 24 year olds. They’re older. So we’re losing the core audience. That’s the problem with the movie business.

YOUR WEEKLY WISDOM: