Roger Ebert
Roger Ebert
Roger Joseph Ebertwas an American film critic and historian, journalist, screenwriter, and author. He was a film critic for the Chicago Sun-Times from 1967 until his death in 2013. In 1975, Ebert became the first film critic to win the Pulitzer Prize for Criticism. As of 2010, his reviews were syndicated to more than 200 newspapers in the United States and abroad. Ebert also published more than 20 books and dozens of collected reviews...
NationalityAmerican
ProfessionJournalist
Date of Birth18 June 1942
CityUrbana, IL
CountryUnited States of America
When a girl says she likes you as a friend, what she means is: "Rather than have sex with you, I would prefer to lose you as a friend."
I've been around a long time, and young men, if there is one thing I know, it is that the only way to kiss a girl for the first time is to look like you want to and intend do, and move in fast enough to seem eager but slow enough to give her a chance to say "So anyway ..." and look up as if she's trying to remember your name.
I am as fond of colorful language as anyone, but I try not to inflict it upon strangers. I suspect many people sense they should have better manners, and need only a nudge. In high school, I was addressed for the first time in my life as "Mister Ebert" by Stanley Hynes, an English teacher, and his formality transformed his classroom into a place where a certain courtliness prevailed.
It has been said that the reason we establish relationships is to assure ourselves of a witness to our lives.
I've never found kicks to the groin particularly funny, although recent work in the genre of the buddy movie suggests audience research must prove me wrong.
In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.
Films to the degree that they glorify mindlessness and short attention span they are bad, to the degree that they encourage empathy with people not like ourselves and encourage us to think about life, they are good.
Well, we're all dying in increments. I don't mind people knowing what I look like, but I don't want them thinking I'm dying.
Families and their problems go on and on, and they aren't solved, they're dealt with.
In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.
Cinema, for me, has always been something like music composed with photographic images.
We must try to contribute joy to the world. I didn't always know this and am happy I lived long enough to find it out.
There's something depressing about a young couple helplessly in love. Their state is so perfect, it must be doomed. They project such qualities on their lover that only disappointment can follow.
Why do alcoholics begin down the same hazardous road day after day? They are in search of that elusive window of well-being that opens when you drink your way out of a hangover and aren't yet drunk all over again. The alcoholic's day consists of trying to keep that window open.