Roger Ebert Quotes About Film

Quotes about: Film

• Every great film should seem new every time you see it.

  Roger Ebert

  Movie, Gambling, Film

  Biography/Personal Quotes, www.imdb.com.

• It's not what a movie is about, it's how it is about it.

  Roger Ebert

  Film

• If you pay attention to the movies they will tell you what people desire and fear. Movies are hardly ever about what they seem to be about. Look at a movie that a lot of people love, and you will find something profound, no matter how silly the film may be.

  Roger Ebert

  Silly, People, Profound

  Roger Ebert (2012). “Awake in the Dark: The Best of Roger Ebert”, p.388, University of Chicago Press

• Going to see Godzilla at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter's Basilica.

  Roger Ebert

  Cannes Film Festival, Satanic, Festivals

  Roger Ebert (2013). “I Hated, Hated, Hated This Movie”, p.145, Andrews McMeel Publishing

• A film like Hoop Dreams is what the movies are for. It takes us, shakes us, and makes us think in new ways about the world around us. It gives us the impression of having touched life itself.

  Roger Ebert

  Dream, Thinking, Giving

  Roger Ebert (2012). “Awake in the Dark: The Best of Roger Ebert”, p.184, University of Chicago Press

• Sometimes miraculous films come into being, made by people you've never heard of, starring unknown faces, blindsiding you with creative genius.

  Roger Ebert

  People, Creative, Genius

• Jacques Tati is the great philosophical tinkerer of comedy, taking meticulous care to arrange his films so that they unfold in a series of revelations and effortless delights.

  Roger Ebert

  Philosophical, Delight, Care

  Roger Ebert (2008). “The Great Movies II”, p.278, Crown Archetype

• Pearl Harbor is a two-hour movie squeezed into three hours, about how on December 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialog, it will not be because you admire them.

  Roger Ebert

  Two, Grace, Vision

  "Pearl Harbor" by Roger Ebert, www.rogerebert.com. May 25, 2001.

• 'Abraham Lincoln: Vampire Hunter' is without a doubt the best film we are ever likely to see on the subject - unless there is a sequel, which is unlikely, because at the end, the Lincolns are on their way to the theater.

  Roger Ebert

  Doubt, Vampire, Hunters

  Roger Ebert (2012). “Roger Ebert's Movie Yearbook 2013: 25th Anniversary Edition”, p.1, Andrews McMeel Publishing

• One sign of a great actor is when he can be alone by himself on the screen, doing almost nothing, and producing one of a film's defining moments.

  Roger Ebert

  Actors, Defining Moments, Film

  Roger Ebert (2016). “The Great Movies IV”, p.81, University of Chicago Press

• Samurai films, like westerns, need not be familiar genre stories. They can expand to contain stories of ethical challenges and human tragedy.

  Roger Ebert

  Challenges, Tragedy, Needs

  Roger Ebert (2016). “The Great Movies IV”, p.90, University of Chicago Press

• Horror fans are a particular breed. They analyze films with such detail and expertise that I am reminded of the Canadian literary critic Northrup Frye, who approached literature with similar archetypal analysis.

  Roger Ebert

  Fans, Details, Analysis

• 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.

  Roger Ebert

  Thinking, People, Empathy

• The film argues to the young that the old were young once, too, and contain within them all that the young know, and more.

  Roger Ebert

  Arguing, Film, Young

  Roger Ebert (2008). “The Great Movies II”, p.258, Crown Archetype

• I'll tell you, I think that the Internet has provided an enormous boost to film criticism by giving people an opportunity to self publish or to find sites that are friendly.

  Roger Ebert

  Opportunity, Thinking, Self

  Interview With Chris Neumer, www.stumpedmagazine.com.

• When we go to the movies, we identify with the characters we see. That's why we go to the movies; we have a voyeuristic experience; we have an out of the body experience. The screen is more real than our thoughts are at the moment we are looking at the film and we place ourselves in the place of the people on the screen, and when they behave nobly, it makes us feel noble, when they are sad and when they have lost love, we feel sad; we can identify with that.

  Roger Ebert

  Real, Lost Love, Character

• One of the gifts one movie lover can give another is the title of a wonderful film they have not yet discovered

  Roger Ebert

  Giving, Titles, Lovers

• Film theory has nothing to do with film. Students presumably hope to find out something about film, and all they will find out is an occult and arcane language designed only for the purpose of excluding those who have not mastered it and giving academic rewards to those who have. No one with any literacy, taste or intelligence would want to teach these courses, so the bona fide definition of people teaching them are people who are incapable of teaching anything else.

  Roger Ebert

  Teaching, People, Giving

  "Lights, Camera, Action. Marxism, Semiotics, Narratology." by David Weddle, articles.latimes.com. July 13, 2003.

• A remarkable documentary that's also one of the most beautiful nature films I've seen.

  Roger Ebert

  Beautiful, Documentaries, Film

  "Queen of the Sun" by Roger Ebert, www.rogerebert.com. April 27, 2011.

• The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.

  Roger Ebert

  Breathing Space, Degrees, Dimensions

  Roger Ebert (2003). “Roger Ebert's Movie Yearbook 2004”, p.740, Andrews McMeel Publishing

• Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley... Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it.

  Roger Ebert

  Guilt, Cameras, Anecdotes

• Only enormously talented people could have made Death to Smoochy . Those with lesser gifts would have lacked the nerve to make a film so bad, so miscalculated, so lacking any connection with any possible audience.

  Roger Ebert

  People, Connections, Nerves

  Roger Ebert (2009). “Your Movie Sucks”, p.68, Andrews McMeel Publishing

• Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

  Roger Ebert

  Art, Opportunity, Cinema

  Source: editorial.rottentomatoes.com

• Matthew McConaughey and Kate Hudson star. I neglected to mention that, maybe because I was trying to place them in this review's version of the Witness Protection Program. If I were taken off the movie beat and assigned to cover the interior design of bowling alleys, I would have some idea of how they must have felt as they made this film.

  Roger Ebert

  Stars, Taken, Ideas

  Roger Ebert (2009). “Your Movie Sucks”, p.141, Andrews McMeel Publishing

• Films like Fargo are why I love the movies.

  Roger Ebert

  Fargo, Film

  Roger Ebert (2012). “Awake in the Dark: The Best of Roger Ebert”, p.193, University of Chicago Press

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