The Frame

Anna Bass and Monica Bill Barnes (pictured) imbue their choreography with humor; how the creator of 'Doc McStuffins' made her hit show that counts Michelle Obama among its fans; and two Sundance documentaries show the power of movies to liberate people’s minds.

Rick Famuyiwa, the writer-director of the 2015 Sundance favorite, "Dope," describes being at the center of one of the buzziest films at the fest; “Dear White People” filmmaker Justin Simien looks back at Sundance a year after his breakout; composer Bear McCreary rocks out on his hurdy-gurdy.

Venues for Bill Cosby's live shows sometimes can't cancel a show on their own; Alfonso Gómez-Rejón, director of Sundance favorite "Me & Earl ..." (pictured), on why the film is so personal to him; can Pivot TV's $40 million series, "Fortitude," be a hit for the fledgling network?; "Schoolhouse Rock" creators explain its origins.

Noted documentary director Alex Gibney debuts his HBO film, “Going Clear: Scientology and the Prison of Belief”; no sales record after all for Sundance darling “Me and Earl and the Dying Girl”; Jamie Cullum puts his stamp on jazz standards on his new album, "Interlude."

Awards from the Screen Actors and Producers guilds put "Birdman" (pictured) in the driver's seat for Oscars; watchdog group says "American Sniper" has inspired threats against Arab-Americans and Muslims; sex is a common theme at this year's Sundance festival; actor Tony Hale's children's book.

Karina Canellakis (pictured) is a conductor who does double duty as a violinist, often at the same time; The Frame host John Horn reports from the Sundance Film Festival, where filmmaker Benson Lee returns with a new movie, "Seoul Searching."

Previewing the most anticipated features and documentaries at the Sundance Film Festival (pictured); Bill Robles has drawn the trials of everyone from Charles Manson to Lindsay Lohan; 'Mommy' is the fifth feature from 25-year-old Xavier Dolan.

Journalist Ben Fritz and former Navy officer-turned-actor Ricky Ryba on the marketing and accuracy of "American Sniper" (pictured); Frances McDormand and Suzzy Roche discuss "Early Shaker Spirituals"; the documentary "Red Army" looks at how the former Soviet Union built a hockey dynasty.

Former Disney exec-turned-producer Nina Jacobson discusses how an actor’s pay is determined in the industry; composer Hans Zimmer (pictured) discusses the making of his Oscar-nominated score for Christopher Nolan's "Interstellar"; Michael Chabon is the most recent novelist trying his hand at writing pop song lyrics.

Classical music legend Neville Marriner (pictured) is in L.A. to conduct the Colburn School student orchestra; Stephanie Allain, an executive producer of "Dear White People" and director of the L.A. Film Festival, on why Hollywood isn't diverse enough; Doug Lussenhop, aka DJ Douggpound, brings his sound-rich act to Riot LA.

The director's new film continues his focus on characters struggling to come to terms with themselves; why are 1930s-era murals in San Francisco causing a fuss today?; revisiting our chat with Emmy-nominee Samantha Bee.

His father is Bobby McFerrin and he has a brother and sister who also are singers. Taylor has been making music for some time now, but he's never sung on an album — until now; gay characters are featured on a telenovela for the first time; the story behind "Blinded by the Light."

An Associated Press exposé details decades of alleged sexual harassment by the renown opera singer and conductor; the documentary “Cold Case Hammarskjöld” turned into a whodunnit; how did a little-known L.A. band end up opening for The Rolling Stones?

One of the few major music festivals in the U.S. that is not organized by a giant company, Outside Lands took over Golden Gate Park this weekend; Universal Pictures scraps "The Hunt," an R-rated satire in which elites hunt "deplorables" for sport.

In "Escape At Dannemora," director Ben Stiller goes inside a prison to tell the story of the inmates who broke out; comedian and SNL writer Julio Torres prefers humor about ordinary objects to politics; Geena Davis hopes her research institute and a new documentary will convince Hollywood the value of creating film and TV with a diverse cast of women and girls.

The offbeat comedian talks about his path from immigrant to "SNL" writer to star of an HBO stand-up special; Rolling Stone writer Elias Leight on the continuing practice of payola in the radio industry; an episode of Song Exploder with Corin Tucker and Carrie Brownstein of Sleater-Kinney.

Geena Davis is executive producer of the new documentary that explores the status of women in the film industry; David Rubin, the newly-elected president of the Academy of Motion Picture Arts and Sciences; rock musician Ty Segall.

Nanfu Wang's documentary is a personal look at China’s former one child policy, which continues to reverberate there; The Emmy Awards will go without a host; on the 20th anniversary of "Eyes Wide Shut," a look at how its composer was chosen.

The wrongly-convicted former athlete and director Tom Shadyac discuss the path to making the movie; we revisit the documentary, "Toni Morrison: The Pieces I Am," following her death; Bruce Lee's family is unhappy about his depiction in "Once Upon A Time in Hollywood."

Barak Goodman's documentary, “Woodstock: Three Days that Defined a Generation,” asks: Why did 400,000 young people trek across the country for a festival in the middle of nowhere?; music historian Andy Zax helped restore every Woodstock performance for a 38-disc boxed set; filmmaker Sam Jones on the influence of documentary director D.A. Pennebaker.

Today's show: The creators of "Sherman's Showcase" discuss the comedy and music in their sketch show. We discuss the portrayal of Bruce Lee in Tarantino's new film. Why Patricia Arquette wanted to co-star in "Otherhood." Then Indie duo The Bird and The Bee make a tribute album of Van Halen covers.

Actress Patricia Arquette, writer/director Cindy Chupack and producer Cathy Schulman talk about their new film and how middle-aged women are portrayed in Hollywood; has hip-hop reached a turning point in its inclusivity of black, gay artists?