Self
Self
Self
Self
A day-in-the-life documentary with Garry Marshall. Marshall was an executive producer for ABC and was responsible for such hit shows as Laverne and Shirley, Happy Days, and Mork and Mindy. This tape features several behind the scenes segments from these shows' productions. Marshall is also interviewed about the nature of television production and comedy.
1979-01-01
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0.0The cast and crew of Spaceballs looks back at the making of the movie.
6.0A collection of deleted scenes and bloopers from the library of Toho Studios films, including several films from the famous Godzilla franchise.
6.8In front of a live audience at the Raleigh Memorial Auditorium at the Progress Energy Center for the Performing Arts in Raleigh, North Carolina, the Emmy-nominated host of Real Time with Bill Maher performs an all-new hour of stand-up comedy. Among the topics Bill discusses in his ninth HBO solo special are: Whether the "Great Recession" is really over; the fake patriotism of the right wing; what goes on in the mind of a terrorist; why Obama needs a posse instead of the secret service; the drug war; Michael Jackson; getting out of Iraq and Afghanistan; racism; the Teabagger movement; religion; the health-care fight; why Gov. Mark Sanford will come out looking good, and how silly it is to ask "Why do men cheat?"; and why comedy most definitely didn't die when George Bush left office.
10.0Bailey interviews Italian film director Luchino Visconti.
0.0In this documentary we see Khyentse Norbu (director of The Cup, 1999) in Nepal during the filming for his latest film Looking for a Lady with Fangs and a Moustache, where he effortlessly switches between working with the hip film crew and performing ancient Buddhist rituals.
0.0Five individuals relate their life stories and struggles as they journey to participate in the filming of The Chosen's "Sermon on the Mount" scene.
7.3Go behind the scenes with the cast and crew of “Stranger Things: The First Shadow”, the award-winning live stage show that expands the Hawkins universe.
5.7On-set documentary about the making of the film "Y tu mamá también."
8.7This 8-part documentary includes behind the scenes interviews, concept art, and promotional trailers for the game.
7.1Amateur and professional bodybuilders prepare for the 1975 Mr. Olympia and Mr. Universe contests as five-time champion Arnold Schwarzenegger defends his Mr. Olympia title against Serge Nubret and the shy young Lou Ferrigno.
8.7A documentary covering 3 decades of Clerks films
0.0Shot in 1960 on the set of Jonas Mekas' 'Guns of the Trees'. Dedicated to Ron Rice.
8.0Cast and crew, including Mara, discuss her casting.
5.5An appreciative, uncritical look at silent film comedies and thrillers from early in the century through the 1920s.
6.0A short documentary about the making of Ultraviolet. It delves into castings, directing, visual effects and such.
7.9A chronicle of the production problems — including bad weather, actors' health, war near the filming locations, and more — which plagued the filming of Apocalypse Now, increasing costs and nearly destroying the life and career of Francis Ford Coppola.
7.0Forty years after `The Snowman' was first broadcast, the story of how Raymond Brigg's classic tale was made and became a Christmas institution in over 29 countries, spawning hit singles, a cameo from David Bowie, and a host of snowy spin offs.
"The prevailing stigmatization of the 'villero' universe is fed back by the images. In order to dismantle this stigmatization, other images must be presented or we need to reveal what the existing ones seek to cover up. The slum is usually represented from a limited and deceitful visual panorama. This representation has an intention. Cinema and television are two image-producing devices that strengthen the stereotypes that we have about the people who inhabit these spaces. And what happens in the field of painting? Do clichés reign there too? This visual essay seeks to confront various works by national painters and sculptors, belonging to the Palais collection, with the kinetic images of current cinema and television, to reflect on both the differences and the similarities in the meanings and discourses that both regimes of images can produce." César González