Roger Ebert Quotes

How strange that a novel about such a desperate man could pull me back into living. I had no use for happy characters. What did they know?

sense of identifying with the characters, although that is an important part of it, but by seeing the world as another person sees it. François Truffaut said that for a director it was an inspiring sight to walk to the front of a movie theater, turn around, and look back at the faces of the audience, turned up to the light from the screen. If the film is any good, those faces reflect an out-of-the-body experience: The audience for a brief time is somewhere else, sometime else, concerned with lives that are not its own. Of all the arts, movies are

When the film premiered at Cannes 2003, Lars von Trier was accused of not portraying Americans accurately, but how many movies do? Anything by David Spade come to mind? Von Trier could justifiably make a fantasy about America, even an anti-American fantasy, and produce a good film, but here he approaches the ideological subtlety of a raving prophet on a street corner.

Is that a sacrilege that I praise a Holocaust movie <nowiki>[</nowiki>Schindler's List<nowiki>]</nowiki> for being entertaining? The word doesn't imply that a movie need be cheerful. In my mind, entertainment in this genre springs from characters who are brought to full life, who we care about and who are set in a powerful story. My motto: "No good movie is depressing. All bad movies are depressing."

I do not often attribute motives to audience members, nor do I try to read their minds, but the people who were sitting around me on Monday morning made it easy for me to know what they were thinking. They talked out loud. And if they seriously believed the things they were saying, they were vicarious sex criminals.

Why bother to remake Fame if you don't have clue about why the 1980 movie was special? Why take a touching experience and make it into a shallow exercise? Why begin with a R-rated look at plausible kids with real problems and tame it into a PG-rated after-school special? Why cast actors who are sometimes too old and experienced to play seniors, let alone freshmen?

Dr. Strangelove<nowiki>'</nowiki>s humor is generated by a basic comic principle: People trying to be funny are never as funny as people trying to be serious and failing. The laughs have to seem forced on unwilling characters by the logic of events. A man wearing a funny hat is not funny. But if the man doesn't know he's wearing a funny hat--now you've got something. The characters in Dr. Strangelove do not know their hats are funny.

Their costumes look purchased from the Goodwill store on Tatoine.

Censors feel they are safe from objectionable material but must protect others who are not as smart or moral. The same impulse tempts the reviewer of 'The Believer'... If the wrong people get the wrong message - well, there has never been any shortage of wrong messages. Or wrong people.

The movie is being revived around the country for midnight cult showings. Midnight is not late enough.

There is a scene in this film where a character is defecated on by several people at the same time, and I dunno … I didn't enjoy it.

Your life is over when you stop living it. If you can truly retire you had a job but not an occupation.

Clerks spoke with the sure, clear voice of an original filmmaker. In Mallrats the voice is muffled, and we sense instead advice from the tired, the establishment, the timid and other familiar Hollywood executive types. The year that Clerks played at the Cannes Film Festival, I was the chairman of a panel discussion of independent filmmakers. Most of them talked about their battles to stay free from Hollywood's playsafe strategies. But Kevin Smith cheerfully said he'd be happy to do whatever the studios wanted, if they'd pay for his films. At the time, I thought he was joking.

This is a movie that comes in two parts: It knows exactly what to do with special effects, but doesn't have a clue as to how two people in love might act and talk and think. Movies like Top Gun are hard to review because the good parts are so good and the bad parts are so relentless. The dogfights are absolutely the best since Clint Eastwood's electrifying aerial scenes in Firefox. But look out for the scenes where the people talk to one another.

It's the kind of movie where you ask people how they liked it, and they say, "Well, it was well made," and then they wince.