The writer/director of the delightfully misanthropic comedy about warring siblings stuck in a holding pattern *and* a Honda Accord together talks about the road to his second feature, his generation's disinterest in historical context and the pleasure of having someone recite a laughline from something he made.
Having been on the path usually taken, it wasn't until a family crisis drew the director of music videos and documentaries off course that he found the story for his lovely feature debut in the story of a singer/songwriter making a big move in life.
Before "Pineapple Express" put him on a different path, the writer/director talks about coming into his own in college, believing he had the first-ever Blockbuster membership and the cow insemination documentary he made.
On the eve of a new documentary about the director, we republish this 45-minute conversation with Allen circa 2003's "Hollywood Ending" about his "lucky" filmmaking career, casting great actresses and writing under pressure.
Once thinking of becoming a union organizer, the first-time writer/director has used those skills to bring together a talented cast and crew for a compelling dramedy about a family on the mend.
The first-time writer/director and the star of "Dexter" talk about how love can be hard, but shooting a low-budget indie feature in Grand Central Station can be harder in terms of their delightfully twisty new romantic comedy.
On hitting the road for a small but wild production.
One of the founders of the Upright Citizens Brigade and a director of Funny or Die shorts talk about teaming up for a full-blown musical with the outrageous "Freak Dance."
The sequel to "Spy Kids" may not have been a first for the series, but it pioneered the digital technology that's become an industry standard since. The writer/director, who held nine other titles on the film, talks about how Hollywood is like an unwanted return to your hometown and topping the first "Spy Kids."
The Tony Award-nominated director makes a seamless transition to the screen with a new comedy set in the world of competitive collegiate a capella choirs and talks about making singing believable, the innovation of mashups and the film's one flaw.
The filmmaker discusses getting her big break by making a movie about the man who has given them to so many others including Martin Scorsese, Ron Howard and Jack Nicholson.
The first-time writer/director talks about the process of piecing together characters and overheard conversations into a decadent debut about pampered twentysomethings attempting to be in pursuit of something other than each other.
