Роджер Эберт цитаты

Роджер Эберт фото
1   0

Роджер Эберт

Дата рождения: 18. Июнь 1942
Дата смерти: 4. Апрель 2013
Другие имена:Ռոջեր Էբերթ, Роджър Еберт, రోజెర్ ఎబెర్ట్, راجر ایبرت

Реклама

Ро́джер Джо́зеф Э́берт — американский кинокритик и телеведущий. Лауреат Пулитцеровской премии 1975 года. Автор более пятнадцати книг.

Подобные авторы

Жан-Люк Годар фото
Жан-Люк Годар44
франко-швейцарский кинорежиссёр, актёр, сценарист и киноп...
Джек Николсон фото
Джек Николсон67
американский актёр
Дмитрий Львович Быков фото
Дмитрий Львович Быков85
русский писатель и поэт, журналист, кинокритик, сценарист
Жанна Моро фото
Жанна Моро15
французская актриса и певица
Хит Леджер фото
Хит Леджер33
американский актёр и режиссёр
Микки Рурк фото
Микки Рурк21
американский киноактёр, сценарист, бывший профессиональны...
Viggo Mortensen фото
Viggo Mortensen17
датский и американский актёр, фотограф, поэт, художник и ...
Анита Лус фото
Анита Лус6
американская сценаристка
Джим Джармуш фото
Джим Джармуш15
американский кинорежиссёр и сценарист

Цитаты Роджер Эберт

„No matter what they're charging to get in, it's worth more to get out.“

—  Roger Ebert
Context: Here it is at last, the first 150-minute trailer. Armageddon is cut together like its own highlights. Take almost any 30 seconds at random, and you'd have a TV ad. The movie is an assault on the eyes, the ears, the brain, common sense, and the human desire to be entertained. No matter what they're charging to get in, it's worth more to get out. Review http://www.rogerebert.com/reviews/armageddon-1998 of Armageddon (1 July 1998)

Реклама

„Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy.“

—  Roger Ebert
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out. Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them. Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000

„It's so rare to find a movie that doesn't take sides.“

—  Roger Ebert
Context: It's so rare to find a movie that doesn't take sides. Conflict is said to be the basis of popular fiction, and yet here is a film that seizes us with its first scene and never lets go, and we feel sympathy all the way through for everyone in it. To be sure, they sometimes do bad things, but the movie understands them and their flaws. Like great fiction, House of Sand and Fog sees into the hearts of its characters, and loves and pities them. … "House of Sand and Fog" relates not a plot with its contrived ups and downs but a story. A plot is about things that happen. A story is about people who behave. To admire a story you must be willing to listen to the people and observe them, and at the end of House of Sand and Fog, we have seen good people with good intentions who have their lives destroyed because they had the bad luck to come across a weak person with shabby desires. Review http://www.rogerebert.com/reviews/house-of-sand-and-fog-2003 of House of Sand and Fog (26 December 2003)

„Kids are not stupid. They are among the sharpest, cleverest, most eagle-eyed creatures on God's Earth, and very little escapes their notice.“

—  Roger Ebert
Context: Kids are not stupid. They are among the sharpest, cleverest, most eagle-eyed creatures on God's Earth, and very little escapes their notice. You may not have observed that your neighbor is still using his snow tires in mid-July, but every four-year-old on the block has, and kids pay the same attention to detail when they go to the movies. They don't miss a thing, and they have an instinctive contempt for shoddy and shabby work. I make this observation because nine out of ten children's movies are stupid, witless, and display contempt for their audiences, and that's why kids hate them. Is that all parents want from kids' movies? That they not have anything bad in them? Shouldn't they have something good in them — some life, imagination, fantasy, inventiveness, something to tickle the imagination? If a movie isn't going to do your kids any good, why let them watch it? Just to kill a Saturday afternoon? That shows a subtle kind of contempt for a child's mind, I think. All of this is preface to a simple statement: Willy Wonka and the Chocolate Factory is probably the best film of its sort since "The Wizard of Oz." It is everything that family movies usually claim to be, but aren't: Delightful, funny, scary, exciting, and, most of all, a genuine work of imagination. Willy Wonka is such a surely and wonderfully spun fantasy that it works on all kinds of minds, and it is fascinating because, like all classic fantasy, it is fascinated with itself. Review http://www.rogerebert.com/reviews/willy-wonka-and-the-chocolate-factory-1971 of Willy Wonka & the Chocolate Factory (1 January 1971)

„What Charlize Theron achieves in Patty Jenkins' Monster isn't a performance but an embodiment.“

—  Roger Ebert
Context: What Charlize Theron achieves in Patty Jenkins' Monster isn't a performance but an embodiment. With courage, art and charity, she empathizes with Aileen Wuornos, a damaged woman who committed seven murders. She does not excuse the murders. She simply asks that we witness the woman's final desperate attempt to be a better person than her fate intended. Review http://www.rogerebert.com/reviews/monster-2003 of Monster (1 January 2004)

„Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.“

—  Roger Ebert
Context: Deuce Bigalow is aggressively bad, as if it wants to cause suffering to the audience. The best thing about it is that it runs for only 75 minutes. … Does this sound like a movie you want to see? It sounds to me like a movie that Columbia Pictures and the film's producers … should be discussing in long, sad conversations with their inner child. The movie created a spot of controversy... Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed [2004's] Best Picture nominees and wrote that they were "ignored, unloved, and turned down flat by most of the same studios that … bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic." Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: "Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind. … Maybe you didn't win a Pulitzer Prize because they haven't invented a category for Best Third-Rate, Unfunny Pompous Reporter Who's Never Been Acknowledged by His Peers..." As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks." Review http://www.rogerebert.com/reviews/deuce-bigalow-european-gigolo-2005 of Deuce Bigalow: European Gigolo

„I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do.“

—  Roger Ebert
Context: "Kindness" covers all of my political beliefs. No need to spell them out. I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this and am happy I lived long enough to find it out. Ch. 55 : Go Gently

Реклама

„Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity“

—  Roger Ebert
Context: It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. His films avoid the pathos and sentiment of the Chaplin pictures, and usually feature a jaunty young man who sees an objective and goes for it in the face of the most daunting obstacles. Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising, how without asking, he earns our admiration and tenderness. Because he was funny, because he wore a porkpie had, Keaton's physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own. The Great Movies II (2005), p. 94

„This is precisely the same construction used by many serial killers and heads of state, who use language to separate themselves from the consequences of their actions.“

—  Roger Ebert
Context: The movie opens as the drifter "inadvertently" (Araki's word, in the press kit) blows off the head of a Korean convenience store owner... It continues as the "enigmatic Xavier" (I am again quoting from the wonderfully revealing press kit) "has such rotten karma that every time they stop the car for fries and Diet Cokes, someone ends up dying in one gruesome way or another." Wait, there's more: "As the youthful band of outsiders continues their travels through the wasteland of America, Amy finds herself (having sex with) both Jordan and Xavier, forging a triangle of love, sex and desperation too pure for this world." Now let's deconstruct that. (1) The correct word is "its," not "their." (2) "Band of outsiders" is an insider reference to A Band Apart," the name of Quentin Tarantino's production company, which itself is a pun on the title of a film by Godard. (3) Is it remotely possible that America is a "wasteland" because Amy, Jordan and Xavier kill someone every time they stop for fries and a soda? That wouldn't have occurred to this movie. (4) The clause "someone ends up dying" is a passive way to avoid saying that the three characters kill them. This is precisely the same construction used by many serial killers and heads of state, who use language to separate themselves from the consequences of their actions. Review http://www.rogerebert.com/reviews/the-doom-generation-1995 of The Doom Generation (10 November 1995)

„Once again, he has silenced the doubters by simply delivering an extraordinary film.“

—  Roger Ebert
Context: Watching Avatar, I felt sort of the same as when I saw Star Wars in 1977. That was another movie I walked into with uncertain expectations. James Cameron's film has been the subject of relentlessly dubious advance buzz, just as his Titanic was. Once again, he has silenced the doubters by simply delivering an extraordinary film. There is still at least one man in Hollywood who knows how to spend $250 million, or was it $300 million, wisely. Review http://www.rogerebert.com/reviews/avatar-2009 of Avatar (11 December 2009)

„The elements in The Wizard of Oz powerfully fill a void that exists inside many children.“

—  Roger Ebert
Context: The elements in The Wizard of Oz powerfully fill a void that exists inside many children. For kids of a certain age, home is everything, the center of the world. But over the rainbow, dimly guessed at, is the wide earth, fascinating and terrifying. There is a deep fundamental fear that events might conspire to transport the child from the safety of home and strand him far away in a strange land. And what would he hope to find there? Why, new friends, to advise and protect him. And Toto, of course, because children have such a strong symbiotic relationship with their pets that they assume they would get lost together. Review http://www.rogerebert.com/reviews/great-movie-the-wizard-of-oz-1939 of The Wizard of Oz (22 December 1996)

Реклама

„The day may never come when it is seen as funny.“

—  Roger Ebert
Context: This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels... The day may come when "Freddy Got Fingered" is seen as a milestone of neo-surrealism. The day may never come when it is seen as funny. Review http://www.rogerebert.com/reviews/freddy-got-fingered-2001 of Freddy Got Fingered (20 April 2001)

„Milk was the right person in the right place at the right time, and he rose to the occasion.“

—  Roger Ebert
Context: Sean Penn never tries to show Harvey Milk as a hero, and never needs to. He shows him as an ordinary man, kind, funny, flawed, shrewd, idealistic, yearning for a better world. He shows what such an ordinary man can achieve. Milk was the right person in the right place at the right time, and he rose to the occasion. So was Rosa Parks. Sometimes, at a precise moment in history, all it takes is for one person to stand up. Or sit down. Review http://www.rogerebert.com/reviews/milk-2008 of Milk (24 November 2008)

„We are connected with some people and never meet others, but it could easily have happened otherwise.“

—  Roger Ebert
Context: We are connected with some people and never meet others, but it could easily have happened otherwise. Looking back over a lifetime, we describe what happened as if it had a plan. To fully understand how accidental and random life is — how vast the odds are against any single event taking place — would be humbling. … This is the kind of film that makes you feel intensely alive while you're watching it, and sends you out into the streets afterwards eager to talk deeply and urgently, to the person you are with. Whoever that happens to be. Review http://www.rogerebert.com/reviews/red-1994 of Three Colors: Red (2 December 1994)

„At last we see what a four-hour erection looks like.“

—  Roger Ebert
Context: I didn't have a stop watch, but it seemed to me the elephantine action scenes were pretty much spaced out evenly through the movie. There was no starting out slow and building up to a big climax. The movie is pretty much all climax. The Autobots® and Decepticons® must not have read the warning label on their Viagra. At last we see what a four-hour erection looks like. The Fall of the Revengers, discussing the film Transformers: Revenge of the Fallen "Roger Ebert's Journal" http://blogs.suntimes.com/ebert/2009/06/the_fall_of_the_revengers.html (24 June 2009)

Help us translate English quotes

Discover interesting quotes and translate them.

Start translating
Сегодня годовщина
 Guf фото
Guf37
1979
Роми Шнайдер фото
Роми Шнайдер3
немецкая и французская актриса 1938 - 1982
Зигмунд Фрейд фото
Зигмунд Фрейд123
австрийский психолог, психиатр и невролог 1856 - 1939
Мишель де Монтень фото
Мишель де Монтень232
французский писатель и философ 1533 - 1592
Другие 60 годовщин
Подобные авторы
Жан-Люк Годар фото
Жан-Люк Годар44
франко-швейцарский кинорежиссёр, актёр, сценарист и киноп...
Джек Николсон фото
Джек Николсон67
американский актёр
Дмитрий Львович Быков фото
Дмитрий Львович Быков85
русский писатель и поэт, журналист, кинокритик, сценарист
Жанна Моро фото
Жанна Моро15
французская актриса и певица