The Business

Writer-producer Kenya Barris tells us how he runs his writers room on his ABC show Black-ish, and what led him to write a much talked about recent episode about police brutality. 

It's been two decades since Sally Field headlined a film, but now she stars as the title role in Michael Showalter's new indie dramedy, Hello, My Name Is Doris. Field and Showalter share why they were drawn to the project, and how they filmed it in under a month. 

Terence Winter, the co-creator and showrunner of the new HBO series Vinyl, tells us how his roots in Brooklyn and stint practicing law both helped him -- in a roundabout way -- land big writing jobs in Hollywood.

When Douglas McGrath set out to make a documentary about Mike Nichols, he found the iconic director most excited to talk about his early work, up to and including perhaps his most defining movie, The Graduate.

Mad Max: Fury Road director George Miller has had a successful and exceptionally varied career. He tells us what all his films have in common, despite the differing subject matter.

Scott Alexander and Larry Karaszewski have written movie scripts about real people like Ed Wood and Larry Flynt, but they weren't TV guys until they got an offer to tackle the trial of the century.

Director Todd Haynes and producer Christine Vachon trace tell us about the long journey to make their newest movie, Carol. Despite their past success, they say they still face resistance in the industry whenever they pitch a movie about women without any male leads.  

Writer-director Adam McKay is known for his Will Ferrell comedies like Anchorman and Talladega Nights. He’s gone a different direction with The Big Short, and now the film about the 2008 financial collapse is up for five Oscars. 

Director Lenny Abrahamson didn’t expect author Emma Donoghue would choose him to make a film based on her bestselling novel Room. Abrahamson tells us how he made his pitch to Donoghue -- and she explains why it worked.

First-time director László Nemes knew it would be tough to find funding for his intensely realistic Holocaust film, but he had no idea the level of resistance he'd face. He tells us how he went from having the movie no one wanted to touch to being a Cannes darling and Oscar contender.