For two months, workers at Italy’s famed Cinecitta Studio—which supported the work of auteur Fellini—have been camped out in protest. Employees say that management’s desire to restructure is a thinly veiled plan to end filmmaking at the studios.

James Franco—a modern art “jack of all trades”—will now teach a small course at CalArts. His eight-student class will be a year-long collaboration that results in a film based on D.J. Waldie’s Lakewood memoir, Holy Land.

The National Media Museum in England has unveiled the world’s first color film. Made in 1903, the find makes unknown photographer Edward Turner “the father of moving colour images.” Paul Goodman, the museum’s head of collections, also says, “This rewrites film history.”

Guy Maddin’s new avant-garde feature, Keyhole, is partly an homage to The Odyssey and will be “crystal-clear upon your third viewing,” he says. “I wanted to make something viewers could let themselves go with and just listen to, like a piece of music.”

Werner Herzog is the next filmmaker invited to film a livestreamed concert in the American Express Unstaged series. Selected by the Killers, his plans for the September gig range from having a cameraman crowd-surf to putting a camera on the band’s drummer.

The BBC is remaking Hitchcock’s 1938 classic The Lady Vanishes. This latest film follows a resurgence in interest surrounding Hitchcock, but will be “closer to crime writer Ethel Lina White’s 1936 novel The Wheel Spins than to the Hitchcock film.”

Greenlighted to do his first feature since 2009—The Zero Theorem begins shooting in Bucharest in October—Terry Gilliam discusses directing his first nude scene, a 36-day shoot, and how he’s using Google Earth to do location scouting.