Based on the novel by Mark Childress, Crazy in Alabama is the dual story of young Peejoe (Lucas Black) and his flighty Aunt Lucille (Melanie Griffith). Set in the early '60s, a time of great change, tragedy, and promise, the film traces the coming of age of a boy, a woman and an era. The film juxtaposes the dramatic events of the civil rights era with the candy-colored pop sensibility of Lucille's American dream: life, liberty and the pursuit of TV sitcoms.

Lucille has always dreamed of being an actress. But marriage to an abusive husband has almost crushed her spirit. One night, she takes matters into her own hands and kills him. And just to make sure he's dead, she cuts off his head, stuffs it in a hatbox, and goes on the lam. Destination: Hollywood. Meanwhile, Lucille's favorite nephew, Peejoe, is learning another definition of freedom. Watching as the local sheriff continues to harass the black population in his town, he feels compelled to join in their fight. The manhunt for Lucille, her adventures in Hollywood, and Peejoe's journey to manhood are all chronicled in a unique comedy-drama, the directorial debut of Antonio Banderas. Melanie recently spoke about the challenges of being directed by your husband and dealing with the paparazzi.

Did you worry that working together might affect your relationship?

I didn't worry about that. I think he did before I started shooting. But I gave him the script with the full intention that he would love it and want to direct it.

So if he didn't love it, would it have been the end of your marriage?

[laughs] No. It's amazing that he actually read it. Usually he doesn't read any of my stuff, he doesn't read my scripts. But he was looking for a movie to direct. That's why we formed Green Moon, so we could find our own projects, and support young filmmakers. Now we've done Loving Lulu and Crazy in Alabama, and we'll have a movie starting next week called Tart that we're just producing. Dominique Swain [Lolita] is going to star in it.

What's the best part and the worst part of working together?

The best part is that we're together. And he's so passionate and fun and cool. When he would watch a take, everyone would be waiting to see how he reacted. And when he would go, "Yes!" everybody would be like, "Yes!" It was very passionate on the set.

The worst part is he knows me too well. He knows if I'm not giving him everything he wants.

What would he say?

"Do it again."

Was he always right when he'd say you hadn't given everything?

Yeah, yeah. He's very good. Much better than anybody thought. Rod Steiger said he was the best director he ever had. That's pretty cool.

Why is it that the two of you click so well?

I don't think about why so much, I just enjoy it. But maybe because we're both very different yet we're both very similar. We were raised completely opposite: he was raised under Franco, and I was raised real liberal [laughs].

Were you at all concerned about your first project together being about such hot-button issues like civil rights and domestic abuse?

I'm not afraid of that, for one thing. But I think the story is more about freedom. I think it's more of an uplifting thing. It's a different way of telling that story, but it's an honest way, don't you think?