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.

How franchises became the movie business.

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

On the actress’s stellar year.

On Ferguson, Cosby, and what ‘racial progress’ really means.

An oral history of The Right Stuff.

A profile of Mike Nichols.

The art of the voiceover.

A profile of Chris Rock as he makes one last attempt to jump from standup to leading man.

The Interstellar director and the art of the blockbuster cult film.

“I have a big cock in my living room.”

On a book of photographs shot by Leni Riefenstahl in the 1950s and 1960s depicting an African tribe.

“It was offensive to me on a certain level that when Saw and those other movies came out, people said, “Well, torture porn really started with Seven.” Fuck you. There’s enough pervy shit going on in Seven that I don’t have to get on my high horse to defend its artistic sensibilities.”