Sneak Peeks

Art director Richard Holland shares the nitty-gritty of how he constructed the infernal torture device in Rob Reiner’s classic fairy tale.

The actor looks back on her experience on the set of Brian De Palma’s first Hitchcockian thriller and her friendship with costar Margot Kidder.

A public-television commission intended to raise class consciousness, Eight Hours Don’t Make a Day inspired heated debates about its political orientation.

Professor Imani Perry details how Lorraine Hansberry’s own experience of housing discrimination made its way into her landmark play.

In this contemplative moment from a documentary about Andrei Tarkovsky, the elusive master explains how he tried to conjure an immersive vision of painter Andrei Rublev’s world.

The sheer strangeness of wealth and class divisions is fodder for screwball hilarity in Gregory La Cava’s Depression-era masterpiece.

Olivier Assayas revived the spirit of the 1970s in one of cinema’s most evocative party sequences, which serves as the centerpiece of his acclaimed 1994 film.

Visual-effects supervisor Dan Glass offers a glimpse into the complex process of creating the film’s majestic vision of the cosmos.

What does it take for actors to be completely vulnerable with each other? Liv Ullmann and Erland Josephson reflect on the close friendship that informed their work in one of Ingmar Bergman’s most ambitious dramas.

By posing provocative questions about revolutionary politics, Tomás Gutiérrez Alea brought Cuban filmmaking onto the international stage.

The director and the star of Smithereens reminisce about how their landmark film immortalized the mean streets and crumbling buildings of 1980s downtown New York.

The star and producer of The Ballad of Gregorio Cortez made a trailblazing intervention in an iconically American genre, creating an indelible portrait of a Latino American hero.

In one of the most stunning technical feats in their filmography, directors Michael Powell and Emeric Pressburger envisioned a conveyance that sends souls into the great beyond.

Sex, shame, and sibling rivalry: actors Andie MacDowell and Laura San Giacomo talk about capturing the layers of conflict and taboo in Steven Soderbergh’s debut feature.

In this outtake from an interview with Shangkuan Ling-fung, the Taiwanese wuxia icon gets nostalgic about her encounters with Bruce Lee.

The director of Bull Durham explains the ins and outs of bringing baseball to the screen and why Kevin Costner is the finest athletic actor he’s worked with.

The product of consummate artistry and savvy promotion, Marlene Dietrich’s salacious image opened up erotic frontiers for a generation of moviegoers.

How much can a film turn the tide on American violence? Michael Moore and archivist Carl Deal reflect on the moral urgency that gave rise to one of the most talked-about documentaries of all time.

For Philippine master Lino Brocka, casting a mix of nonprofessional and professional actors was key to achieving his brand of unvarnished naturalism.

What goes into staging the perfect on-screen kiss? Director Sofia Coppola and actors Kirsten Dunst and Josh Hartnett look back on shooting a passionate make-out session in The Virgin Suicides.

Jim Jarmusch filmed Neil Young recording the score for his 1995 revisionist western. Watch a bit of the never-released footage here.

Musician Michael Feinstein talks about discovering Paul Whiteman, the wildly popular bandleader who stars in the early-Technicolor musical King of Jazz.

Cinematographer Billy Williams talks about his experience creating the lush images and expressive lighting in Ken Russell’s boldly stylized adaptation of Women in Love.

New German Cinema filmmaker Margarethe von Trotta shares her memories of working with Rainer Werner Fassbinder on the set of Volker Schlöndorf’s 1970 film Baal.