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.”

On Wonder Woman’s feminist past.

“I did a few days on Franco’s As I Lay Dying, and the vibe on the set was very heavy and serious. The only thing I can equate it to is tripping with a bunch of your friends.”

The aging action star’s second wind abroad: political maneuvering, many guns and, most importantly, a market for his B movies.

On Cops, cop movies and Ferguson.

The antagonistic partnership that produced Sunset Boulevard.

Lauren Bacall at 86.

“If you take the chance, sometimes you’ll find something so magnificent that it was worth dying for, and sometimes you’ll find nothing and have a horrible night. To go deeper with it, that’s the most interesting challenge.”

Why the second Indiana Jones was so dark.

“Does your life have a plot? It has characters. There is a narrative. There’s a lot of story, a lot of character. But plot? Eh, no.”

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.

How the actress masterfully shapes her public image.

A profile of Tiny Lister, the silver screen’s half-blind villain.

Tom Cruise did not, in fact, jump up and down on Oprah’s couch.

A profile of Pamela Anderson.

A filmmaker goes to court to fight the television commercial break.

The roast where Chevy Chase learned that everyone hates him.

In Hollywood’s new blockbuster economy, the actors who portray superheroes are as interchangeable as the costumes they wear.

A profile of Harold Ramis, director of Groundhog Day, who died today.