Роджер Эберт цитаты

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Роджер Эберт

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

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

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Цитаты Роджер Эберт

„Minority Report reminds us why we go to the movies in the first place.“

—  Roger Ebert
Context: American movies are in the midst of a transition period. Some directors place their trust in technology. Spielberg, who is a master of technology, trusts only story and character, and then uses everything else as a workman uses his tools. He makes Minority Report with the new technology; other directors seem to be trying to make their movies from it. This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill. Minority Report reminds us why we go to the movies in the first place. Review http://www.rogerebert.com/reviews/minority-report-2002 of Minority Report (21 June 2002)

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„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)

„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)

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„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)

„Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere.“

—  Roger Ebert
Context: Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere. In the 38 years since I saw my first Herzog film, after an outpouring of some 50 features and documentaries, he has never created a single film that is compromised, shameful, made for pragmatic reasons or uninteresting. Even his failures are spectacular.

„Of course the interview was never used.“

—  Roger Ebert
Context: Let me tell you a story. The day after Columbine, I was interviewed for the Tom Brokaw news program. The reporter had been assigned a theory and was seeking sound bites to support it. "Wouldn't you say," she asked, "that killings like this are influenced by violent movies?" No, I said, I wouldn't say that. "But what about Basketball Diaries?" she asked. "Doesn't that have a scene of a boy walking into a school with a machine gun?" The obscure 1995 Leonardo Di Caprio movie did indeed have a brief fantasy scene of that nature, I said, but the movie failed at the box office (it grossed only $2.5 million), and it's unlikely the Columbine killers saw it. The reporter looked disappointed, so I offered her my theory. "Events like this," I said, "if they are influenced by anything, are influenced by news programs like your own. When an unbalanced kid walks into a school and starts shooting, it becomes a major media event. Cable news drops ordinary programming and goes around the clock with it. The story is assigned a logo and a theme song; these two kids were packaged as the Trench Coat Mafia. The message is clear to other disturbed kids around the country: If I shoot up my school, I can be famous. The TV will talk about nothing else but me. Experts will try to figure out what I was thinking. The kids and teachers at school will see they shouldn't have messed with me. I'll go out in a blaze of glory." In short, I said, events like Columbine are influenced far less by violent movies than by CNN, the NBC Nightly News and all the other news media, who glorify the killers in the guise of "explaining" them. I commended the policy at the Sun-Times, where our editor said the paper would no longer feature school killings on Page 1. The reporter thanked me and turned off the camera. Of course the interview was never used. They found plenty of talking heads to condemn violent movies, and everybody was happy. Review http://www.rogerebert.com/reviews/elephant-2003 of Elephant (7 November 2003)

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„Some of these reviews were written in joyous zeal. Others with glee. Some in sorrow, some in anger, and a precious few with venom, of which I have a closely guarded supply.“

—  Roger Ebert
Context: Some of these reviews were written in joyous zeal. Others with glee. Some in sorrow, some in anger, and a precious few with venom, of which I have a closely guarded supply. When I am asked, all too frequently, if I really sit all the way through these movies, my answer is inevitably: Yes, because I want to write the review. I would guess that I have not mentioned my Pulitzer Prize in a review except once or twice since 1975, but at the moment I read Rob Schneider's extremely unwise open letter to Patrick Goldstein, I knew I was receiving a home-run pitch, right over the plate. Other reviews were written in various spirits, some of them almost benevolently, but of Deuce Bigalow: European Gigolo, all I can say is that it is a movie made to inspire the title of a book like this. Introduction

„I must slow down now, which is why I'm taking what I like to call "a leave of presence."“

—  Roger Ebert
Context: I must slow down now, which is why I'm taking what I like to call "a leave of presence." What in the world is a leave of presence? It means I am not going away. My intent is to continue to write selected reviews but to leave the rest to a talented team of writers handpicked and greatly admired by me. What's more, I'll be able at last to do what I've always fantasized about doing: reviewing only the movies I want to review. … So on this day of reflection I say again, thank you for going on this journey with me. I'll see you at the movies. "A Leave of Presence" (2 April 2013) http://www.rogerebert.com/rogers-journal/a-leave-of-presence

„Quantum theory is now discussing instantaneous connections between two entangled quantum objects such as electrons.“

—  Roger Ebert
Context: Quantum theory is now discussing instantaneous connections between two entangled quantum objects such as electrons. This phenomenon has been observed in laboratory experiments and scientists believe they have proven it takes place. They’re not talking about faster than the speed of light. Speed has nothing to do with it. The entangled objects somehow communicate instantaneously at a distance. If that is true, distance has no meaning. Light-years have no meaning. Space has no meaning. In a sense, the entangled objects are not even communicating. They are the same thing. At the “quantum level” (and I don’t know what that means), everything may be actually or theoretically linked. All is one. Sun, moon, stars, rain, you, me, everything. All one. If this is so, then Buddhism must have been a quantum theory all along. No, I am not a Buddhist. I am not a believer, not an atheist, not an agnostic. I am more content with questions than answers. Ch. 54 : How I Believe In God

„Once you accept the notion that the state has the right to kill someone and the right to define what is a capital crime, aren't you halfway there?“

—  Roger Ebert
Context: The ability of so many people to live comfortably with the idea of capital punishment is perhaps a clue to how so many Europeans were able to live with the idea of the Holocaust: Once you accept the notion that the state has the right to kill someone and the right to define what is a capital crime, aren't you halfway there? Review http://www.rogerebert.com/reviews/mr-death-the-rise-and-fall-of-fred-a-leuchter-jr-2000 of Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (4 February 2000)

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