Part two of the making of William Friedkin's 1980 thriller "Cruising" and the controversies it created.

Actors, crew and executives who worked at Warner Bros. Pictures recall their days at the studio.

The exciting story of the making of William Friedkin's The French Connection (1971), hosted by former NYPD detective Sony Grosso, who inspired the character of Buddy 'Cloudy' Russo, played in the film by actor Roy Scheider.

Friends and admirers of iconoclastic film director Sam Fuller read from his memoirs in this unconventional documentary directed by Fuller's only child, Samantha.

Documentary about the great 1940s horror movie producer Val Lewton, featured on the 2005 DVD release "The Val Lewton Horror Collection."

A behind-the-scenes retrospective made for the twenty-fifth anniversary of the classic horror film, The Exorcist. Includes interviews with Linda Blair and the other stars of the film, along with commentary from the director and writer on some of the deeper meanings behind the elements they used to terrify their audiences, and previously unreleased footage including make-up tests and deleted scenes.

For the centenary of the great filmmaker,a documentary using clips and interviews which focuses on his search for the spiritual, the mysterious, and the esoteric.

American director William Friedkin interviewed Austrian director Fritz Lang on February 21st and 24th, 1975. Lang died August 2nd, 1976.

Friedkin Uncut offers an introspective glimpse of the life and artistic career of William Friedkin, the extraordinary and unconventional director of cult movies such as The French Connection, The Exorcist, Sorcerer, Cruising and To Live and Die in L.A. For the first time Friedkin has decided to lay himself bare and guide viewers on a fascinating exploration of the themes and stories that have had the greatest influence on his life and his work.

1973 年，恐怖經典《大法師》誕生，不僅是影史第 一部入圍奧斯卡金像獎的恐怖片，從此更被奉為惡 靈恐怖類型的電影圭臬。誰能想得到，《大法師》 的攝影師竟來自古巴革命家卡斯楚的游擊隊?誰能 看得出，驅魔背後的恐怖元素是向《2001:太空漫 遊》、《驚魂記》及《大國民》取經?誰會猜得到， 如此顫慄驚煞的恐怖影像，關鍵靈感竟誕生於一座 充滿禪意的京都庭園? 長年研究恐怖類型歷史，以電影分析紀錄片聞名的 導演亞利山德奧菲利浦，繼殭屍、異形、希區考克 之後，再度挑戰經典解構，大膽入侵金獎名導威廉 佛瑞金的心靈密室，嘗試一探《大法師》的懾人祕 辛。從神祕序曲到震撼終局，兩人耗費數日，鉅細 靡遺地深入這部經典鉅作的拍攝過程與哲學宗旨， 從思考命題、視覺母題、到演員煎熬神情的表演指 導，完整探究這部影史經典的恐懼元素根源，上演 宛如〈希區考克與楚浮對話錄〉般的全面對決。 「萬事萬物都跟信仰或命運有關，而《大法師》講 述的正是信仰的奧祕。」──威廉佛瑞金

Alfred Hitchcock often referred to his style of film making as "pure cinema" - using camera movement, editing, music and sound to tell stories that would be impossible in any other medium. Even as early as the 1920s, while his contemporaries were simply filming stage plays, Hitchcock was creating a cinematic language that has endured and influenced every filmmaker who came after him. This in-depth documentary allows directors such as William Friedkin, Martin Scorsese and Guillermo del Toro to examine the power and mastery of Hitchcock's cinematic style, breaking down such signature sequences as the bell tower scene in Vertigo, the attic attack in The Birds and the shower scene in Psycho.

The cry of gulls. The ticking of a clock. The clatter of a shower curtain, torn from its rod. In this workshop-like documentary, Academy Award-winning sound designers invite you to join them at their mix boards to investigate how Alfred Hitchcock employed sound design to tell his cinematic stories, whether making audience members leap from their seats in fright or crawl under them from excruciating suspense.

Great documentary features interviews with Martin Scorsese, Curtis Hanson, Francis Lawrence, William Friedkin, Guillermo Del Toro, John Carpenter and others as they discuss the films and style of the Master of Suspense. Various topics are discussed including how Hitchcock always had you cheer for the killer, how the good guy on conflicts, objects of desire, how sound was used and the importance of objects that might not mean anything. By the time this documentary was released in 2009 there had already been countless films that took a look at Hitchcock and his style so you might go into this thing wondering what else there is for us to know but what makes this film so special is how those involved really do look at things you might not have noticed before. This was produced by Warner so the film's covered are the ones they owned like STRANGERS ON A TRAIN, NORTH BY NORTHWEST, SUSPICION, I CONFESS, THE WRONG MAN, MR. AND MRS. SMITH and DIAL M FOR MURDER among others. These are films that most fans have seen multiple times and it's still interesting at how the filmmakers really breakdown certain scenes and make you notice things that you might not have. There's no doubt that after watching this you'll want to go back and watch all of the films again just so you can view them in a new way, which is something that happens with most Hitchcock classics. Scorsese offers up some interesting views on THE WRONG MAN and the discussion of Hitchcock's humor is spot on. Fans of the great director are really going to enjoy this 57-minute film and we even get a couple interviews with Hitchcock himself that were recorded back in the 70s.

Mark Kermode给BBC制作的法国贩毒网幕后揭秘，收录在福克斯五星收藏版DVD中

The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurosawa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdanovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.

In 2001: A Space Odyssey, Stanley Kubrick showed us what the future might look like. How true was his vision? This documentary employs interviews with filmmakers, screenwriters and authors - including Arthur C. Clarke - to delve deep into the heart of the film's imagined future and determine the extent to which Kubrick and Clarke's vision predicted a world of fantasy - or today's reality.