Lauren Corrao, president of original programming and development for Comedy Central, talks about directing comedy and what you can get away with on cable TV.

John Landis works with a unique creature on one of the most successful comedies ever made.

A veteran of Home Improvement and One Day at a Time, this 1st AD has had almost as many yucks behind the camera as when the red light went on.

Having worked on hit comedies such as The Office and It's Always Sunny in Philadelphia, Gonzales credits his success to having filled a variety of roles in the industry.

A lifelong animal lover, Michele considered vet school before finding her niche in talking animal films such as Dr. Doolittle 2 and the Garfield and Alvin and the Chipmunks franchises.

Charlie Chaplin is usually remembered for the oversized character he created. But he was also a director of sublime gifts, as his beautifully restored films on DVD confirm.

The DVD columnist for The New York Times considers why modern comedy has for the most part abandoned the long shot.

Throughout Phil Hall's survey, one is repeatedly struck by how many movies were independently produced: Griffith’s Intolerance, entire specialist markets ranging from “race movies” to Yiddish-language productions, and even James Cameron’s first Terminator.

Assistant director Tom Reilly's labor of love, a lifetime’s experience generously distilled into practical advice for assistant directors—tyros and old hands alike.

In these interviews, well chosen by editor Steven Organ, Lean also addresses the perceived divide between his early, intimate British work and his later, expansive inter-national epics.

Finally a biography of Hal Ashby, who made a series of remarkable movies during the 1970s before falling into disfavor and dying at 59. Ashby is the lost man of the Hollywood Renaissance.