The making of Pulp Fiction.

Dan Akroyd, John Belushi, cocaine, and the making of The Blues Brothers.

The making of Thelma & Louise.

The battle to make The Godfather pitted director Francis Ford Coppola against producers including Robert Evans, and the production itself against the real life mob.

A profile of an up-and-coming director:

Well, according to Woody, his ascent has been a series of painful falls. Success hasn't changed him, Allen insists: he's still a schlemiel. "I'm afraid of the dark and suspicious of the light," he says. "I have an intense desire to return to the womb—anybody's." Ineptitude, Woody goes on, is a family curse.

An oral history of director Michael Bay.

On the eve of the release of The Tree of Life, a look back at the turbulent making of Terence Malick’s debut.

After a final film, Kevin Smith is going to retire to a life of podcasting and speaking tours. Or so he says.

It was the middle of the day in the steamy Philippine jungle and the sun was merciless. Director Francis Ford Coppola, dressed in rumpled white Mao pajamas, was slowly making his way upriver in a motor launch.

A profile of Zack Snyder, director of Watchmen, Dawn of the Dead, and the upcoming Superman series.

A profile of director Guillermo del Toro.

“As we enter into a new age, maybe art will be free. Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money?”

A “fanatical Lynch fan from way back,” David Foster Wallace visits the set of Lost Highway, never actually talks to the director, and writes a profile.

Tony Kaye was one of the biggest commercial directors of his time. Then he directed American History X and, by his own admission, completely lost his mind.

An 1992 interview with Martin Scorsese. On Goodfellas, “I figured to do it as if it was one long trailer, where you just propel the action and you get an exhilaration, a rush of the lifestyle.”

An oral history of Goodfellas.

The writer (Aaron Sorkin), director (David Fincher), and actors (Jesse Eisenberg & Justin Timberlake) of The Social Network on dramatizing the real story of a 20 year old into “the Citizen Kane of John Hughes movies.”

The making of Caddyshack.

An interview with cinematographer Harris Savides on the enduring appeal of the visual style of films shot in the 1970s.

The few who got to view Jerry Lewis’s notorious The Day the Clown the Cried, set at Auschwitz, piece together memories of their surreal personal screenings.

The story of the most popular music video of all time, including memories of a then-25-year-old Michael Jackson on and off the set. Director John Landis: “I dealt with Michael as I would have a really gifted child.”

How Warren Beatty seduced the studios into making the comedy Ishtar, which set the modern bar for cinematic debacles. (An excerpt from Peter Biskind’s Star.)

The 1979 Oscars pitted Hal Ashby’s Coming Home against Michael Cimino’s The Deer Hunter, wildly different films both on the the topic of the Vietnam War.

The Onion's Keith Phipps retraces the route Dennis Hopper and Peter Fonda followed in Easy Rider.

In Austin in 1973, politicos and hippies could get together and create violent, visionary horror films for $60,000. So they did. The story of how The Texas Chainsaw Massacre got made.