What it’s like to have your novel filmed by Werner Herzog and Klaus Kinski.

On the enduring appeal, both amateur and academic, of man vs. dinosaur.

A roundtable on sexism in Hollywood and comedy.

“What I do is not magical realism. I do realistic magic. Look, whenever someone does something new, people have to compare it with things they already know. So even if you innovate, you end up being connected to the past. When I began making movies people linked me to Fellini or Buñuel. Now new filmmakers are called ‘jodorowskian.’”

On Arielle Holmes, a burgeoning actress who was, literally, plucked from the streets.

An oral history of Industrial Lights & Magic, which gave birth to Star Wars and countless films, as well as playing a hand in the creation of Photoshop and Pixar.

On the second-class status of women film directors.

The melancholy comedy of the silent screen star.

Most people think they’d be thrilled to have their memoir snapped up for a movie. The author had a different, more troubled experience.

On Brent White, the joke whisperer who edits the largely improvisational comedies of Paul Feig, Judd Apatow and Adam McKay.

One famous critic (Adler) takes another (Pauline Kael) to task for a collection of reviews that is “without Kael- or Simon-like exaggeration, not simply, jarringly, piece by piece, line by line, and without interruption, worthless.”

David Simon and Richard Price, two of the greatest crime storytellers of our time, talk about their craft.

She teaches directors to direct.

“The regular average layman couldn’t see what I see. And the way they’re painting the trainer is all wrong. Look at him there, screaming, Do this! and Do that! I never had anyone telling me what to do. I did it. Shouting at the fighter like that makes him look like an animal, like a horse to be trained.”

The former Beastie Boy, 48, tries to figure out what’s next.

A woman thought a Coen brothers movie was a “true story” and tracked it to her death. Now someone’s made a fictional film about her, further blurring the lines between reality and artifice.

Besieged by pirates, and youngsters unused to paying to watch sex, the porn industry just isn’t what it used to be.

“Some of the best lines — and I’ve been lucky to hear really nutso lines over the years — are not in response to any kind of question. It’s in response to, ‘I don’t know.’”

A drag pageant pioneer dropped out of the public eye after the 1960s. What happened to her?

The great director always refused to get liposuction.

In spite of the boiling-hot anticipation of its release, no one had much fun making this movie.

The dramatic liberties a much-heralded film takes with historical fact show how hard it is to get complexity onto the big screen.

The surreal pageantry of the North Korean Film Festival makes Hollywood look demure.

Seth Rogen, Amy Pascal, and the inside story of Sony’s hacking saga.

The making and near unmaking of Paul Thomas Anderson’s breakout film.