Since breaking out with She's Gotta Have It in 1986, Spike Lee has tackled issues of race, class and sex in America perhaps more than any other director. But his films are not just challenging-they're also entertaining.
Jim Sheridan, director of In America
and My Left Foot
, goes by intuition in searching for the emotional truth of a film. If he doesn't feel it, it's not real.
Joe Sargent has been making masterful movies for TV for over 40 years. But his latest film, Sweet Nothing in My Ear
, about issues in the deaf community, took even him by surprise.
The relationship between directors and production designers is one of the most crucial on a film. No wonder once the collaboration clicks, they often stick together. Several longtime teams explain how it works.
James Mangold leads us through the mean streets of Times Square in Sweet Smell of Success
, directed by his mentor and teacher, Alexander Mackendrick.
Legends of the Guild
Television and screen directors joined forces to form the DGA in 1960. We celebrate one of the men who helped make it happen.
Commercial Directors and New Technology
Thanks to CGI and new technology, anything is possible for commercial directors, who are making the most exciting 30-second films around.
The Last Emperor
Bernardo Bertolucci revisits China's Forbidden City to explain how he filmed the coronation of the child ruler in the nine-time Academy Award winner, The Last Emperor
John Huston was a gambler, boxer, soldier, painter and actor in his 81 years. In photos from the set, here's a look at some of his cinematic adventures along the way.
It took Kimberly Peirce nine years to make her second film after Boys Don't Cry
. For Stop-Loss
she tapped into soldiers' homemade videos for her inspiration.
Here's what happens if you pay too much attention to the trades.