The director of Death at a Funeral considers how Bob Hope and Bing Crosby could get away with anything in their Road films.
First-person columns written by directors about their humorous experiences working in features and television.
The director of Pee-wee’s Big Holiday offers a step-by-step guide on how to win over actors and influence producers on the set. It’s easy, really.
What happens when you’re in the middle of directing an episode and the show gets canceled? Director Eric Appel says look on the bright side—you’ll be home in time for dinner
Mitch Hurwitz, the director and creator of Arrested Development offers some choice—and not so choice—words about meeting the demands of the job.
For a director, getting an actor to try a radical new look is not always an easy process. Say, Jude Law in mutton chops?
The director of The King of Kong: A Fistful of Quarters and Horrible Bosses explains why making documentaries is ideal training for directing comedies.
The director of the pilot and finale of The Office reflects on the unconventional beginning and wistful ending of the popular series.
Jake Kasdan, the director of the New Girl pilot, explains why pilot season is a savage, archaic, and flawed system that brings out the worst in people—but sometimes a director’s best work.
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.
The director of The Contender and Commander in Chief has directed six presidents in all. Here’s what he’s learned on the campaign trail.
The director of Mean Girls and Mr. Popper’s Penguins explains how playing sports prepared him for the toughest game of all—directing comedy.
David Dobkin, the director of Wedding Crashers and The Change-Up shares ten tips learned through trial and error-not divine inspiration.
Shooting a live episode of the comedy series sounded like a good idea on paper.
The director of The Devil Wears Prada reflects on the valuable advice he got from cast and crew while making the film—whether he wanted it or not.
James Burrows, the legendary director of Taxi, Cheers, Will & Grace, and numerous other hits says you never know what’s going to happen on the set—and that’s what makes it fun.
Inspired by The Beatles, a young director tries to be positive. And it works!
Veteran television comedy director Todd Holland wonders if failure is more valuable than success. After all, that’s what his mother told him.
The director of Race to Witch Mountain and Reefer Madness: The Movie Musical wonders what makes a director a director. Maybe it's the chair.
The director of Forgetting Sarah Marshall says alternate takes are not just for the indecisive. To prove his point, he looked back and dug up some you may not have known about.
Being pigeonholed isn't for Linda Mendoza-neither as a Hispanic woman or single- vs. multi-camera TV director.
The director of The Office and Arrested Development offers some helpful hints that may improve your life on the set. First of all, dress ofor the occasion.
Directing Bob Dylan on Masked and Anonymous presented a unique wardrobe problem.
In this article, Director Harold Ramis (1944 - 2014) shares his humorous perspective on what he learned about directing while acting for other directors.
Sometimes trying to make funny movies will leave you talking to yourself.
The director of Talladega Nights and Step Brothers wonders what's happened to the glamorous life-and if it ever existed.
The director of The Princess Diaries and Pretty Woman writes about his unconventional methods for keeping things loose on the set.
Here's what happens if you pay too much attention to the trades.
Sure, going to the Academy Awards is fun, but you have to dress the part, and forget about the traffic
The director of Hairspray wonders why all directors don't want to make musicals.
The director of Night at the Museum explains just how far he'll go to help actors find their performance.
The director of Meet the Fockers and Austin Powers looks for his "Inner Eastwood."
Carl Reiner has been hosting the DGA Awards for 20 years. His secret? Worry, trust and unpreparedness.
Rescue Me's Peter Tolan muses on the problems of working with kids and animals. He prefers animals.
Bob Goldthwait explains why his film Stay isn't as outrageous as you might think.
From the very start, director/executive producer Bob Weide has helped orchestrate the madness and mayhem of Curb Your Enthusiasm. His advice: Don't try this at home.
