As this Taschen volume makes clear, the Master of Suspense remains appealing to cineastes young and old, with 50-plus features underscoring his timeless ingenuity.

Author Gwenda Young makes the case that from the silent era to the golden age, Clarence Brown deserves a place among the giants.

Director Ernst Lubitsch, who was idolized by Wilder and Welles, is brought into sharp focus.

The making of George Stevens' Texas-sized epic is recounted in Don Graham's meticulously chronicled book.

As the newly scaled down yet no less comprehensive Taschen book Stanley Kubrick’s Napoleon: The Greatest Movie Never Made demonstrates, Kubrick was nothing if not a completist.

Joseph McBride, who has written magisterial biographies on John Ford, Frank Capra and Steven Spielberg, has put together a collection of his journalistic work through the decades.

There's a sense of déjà vu in Jerry London's assessment of the smallscreen landscape when miniseries became all the rage.

House of Cards is Netflix's first original series. But the real difference is that David Fincher and a team of five directors are calling the shots.

Jean de Segonzac and a host of directors have kept Law & Order: Special Victims Unit fresh, fast-paced and inventive for 14 seasons. It may be familiar but it’s never routine.

Troy Miller, the director of the opening short films for the Academy Awards explains what it's like asking George Clooney to kiss Billy Crystal, and other embarrasing moments.

Working quickly with a micro-budget and a sympathetic cast and crew, Lynn Shelton has churned out four films in four years, including her latest, Touchy Feely.

In a 25-yearlong career, Stage Manager Arthur Lewis has worked on live broadcasts of the Oscars, Grammys, Emmys and Olympic Games.

O’Keefe says the art of staging TV comedies has changed since she first came into the industry, in the late ’90s, when the DGA training program told recruits they would need pagers.