On the evolution of Nigeria’s booming film industry, which produces 50 full-length features a week.

A profile of director Sofia Coppola.

An interview with mind behind both Five Easy Pieces and The Monkees.

A profile of 12-year-old actress Elle Fanning, Dakota’s sister.

The director of Slumdog Millionaire and 127 Hours on his aversion to America, the advantages of small budgets, and the challenges of directing the opening ceremony for the London Olympics.

“Why are you putting all that muddle in your brain that’s not needed to be there?”

An interview about why giving interviews is totally worthless.

A profile of Focus Features CEO James Schamus.

James Frey is starting a publishing company, paying young writers (very poorly) to reverse engineer a Twilight-esque hit.

The difference between a social network and a movie about a social network, and what it says about the Facebook generation.

The young Woody Allen writes jokes for supper club comedians, decides he will never make it as a performer and then does, idolizes and is snubbed by Mort Sahl, and develops the comic persona which will make him a star.

A critique of Davis Guggenheim’s Waiting for ‘Superman’.

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.

A profile of Sorkin, who wrote The Social Network. “I don’t feel like a nerd,” he says, “but I think I understand them.”

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.”

Mark Zuckerberg, the founder of Facebook, on the eve of the release of The Social Network, believed to be a deeply unflattering portrait of him and the genesis of his company.

Soap operas, enrollment in multiple graduate programs at once, student films alongside Hollywood blockbusters. Is James Franco’s entire career a piece of performance art?

Slumdog Millionaire, the 2008 Mumbai attacks, and the arrival of “New India” in the American imagination.

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.

Bill Murray grants a rare interview and appears to admit, among other things, that he occasionally approaches strangers from behind on the streets of NYC, puts his hands over their eyes, and says “guess who.”

In the 1950s, L.S.D. became a Beverly Hills’ therapy fad, and it profoundly changed idols like Cary Grant.

A 1988 profile of Bill Murray, then at the peak of his box office power and living in a secluded farmhouse in the Hudson River Valley.

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.)