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Goodbye to Language

Jean-Luc Godard's latest free-form essay film may be, more than anything else, a documentary of a restless mind.

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The Great Invisible

Winner of the SXSW Grand Jury Prize for Documentary, the film is strongest when it focuses on the micro rather than the macro. How the…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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Cast and Crew

* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.

Before "Airplane!" there were the Airport movies

May Contain Spoilers

There's nothing quite like the movies if you want to learn what people's hopes and dreams were during the period in which they were made. Take for instance the recent "Up in the Air". In the present when air travel has turned into something to be endured, George Clooney's Ryan Bingham showed us how it can become an enticing way of life. The same subject was also portrayed extensively, under a very different light, some forty years as the "Airport" movies dealt with our fears of dying in new and horrible ways, while glamorizing our dreams of flying first-class, surrounded by a movie star in every seat. As the trailer for one of these features once put it: "on board, a collection of the rich and the beautiful!" They also marked the advent of a new genre (the Disaster Film) as well as the "Ark movie" which Ebert's Little Movie Glossary defines as "mixed bag of characters trapped in a colorful mode of transportation". How many films can claim to this kind of impact?

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100 Great Moments in the Movies

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Roger Ebert / April 23, 1995

For the centennial of cinema, 100 great moments from the movies:

Clark Gable in "Gone With the Wind":

"Frankly, my dear, I don't give a damn."

Buster Keaton standing perfectly still while the wall of a house falls over upon him; he is saved by being exactly placed for an open window.

Charlie Chaplin being recognized by the little blind girl in "City Lights."

The computer Hal 9000 reading lips, in "2001: a Space Odyssey."

The singing of "La Marseillaise" in "Casablanca."

Snow White kissing Dopey Bashful on the head.

John Wayne putting the reins in his mouth in "True Grit" and galloping across the mountain meadow, weapons in both hands.

Jimmy Stewart in "Vertigo," approaching Kim Novak across the room, realizing she embodies all of his obsessions - better than he knows.

The early film experiment proving that horses do sometimes have all four hoofs off the ground.

Gene Kelly singin' in the rain.

Samuel L. Jackson and John Travolta discuss what they call Quarter Pounders in France, in "Pulp Fiction."

The Man in the Moon getting a cannon shell in his eye, in the Melies film "A Voyage to the Moon."

Pauline in peril, tied to the railroad tracks.

A boy running joyously to greet his returning father, in "Sounder."

Harold Lloyd hanging from a clock face in "Safety Last."

Orson Welles smiling enigmatically in the doorway in "The Third Man."

An angel looking down sadly over Berlin, in Wim Wenders' "Wings of Desire."

The Zapruder film of the Kennedy assassination: Over and over again, a moment frozen in time.

A homesick North African, sadly telling a hooker that what he really wants is not sex but couscous, in Rainer Werner Fassbinder's "Fear Eats the Soul: Ali."

Wile E. Coyote, suspended in air.

Zero Mostel throwing a cup of cold coffee at the hysterical Gene Wilder in Mel Brooks' "The Producers," and Wilder screaming: "I'm still hysterical! Plus, now I'm wet!"

An old man all alone in his home, faced with the death of his wife and the indifference of his children, in Yasujiro Ozu's "Tokyo Story."

"Smoking." Robert Mitchum's response, holding up his cigarette, when Kirk Douglas offers him a smoke in "Out of the Past."

Marcello Mastroianni and Anita Ekberg wading in the fountain in "La Dolce Vita."

The moment in Akira Kurosawa's "High and Low" when a millionaire discovers that it was not his son who was kidnapped, but his chauffeur's son - and then the eyes of the two fathers meet.

The distant sight of people appearing over the horizon at the end of "Schindler's List."

R2D2 and C3PO in "Star Wars."

E.T. and friend riding their bicycle across the face of the moon.

Marlon Brando's screaming "Stella!" in "A Streetcar Named Desire."

Hannibal Lecter smiling at Clarise in "The Silence of the Lambs."

"Wait a minute! Wait a minute! You ain't heard nothin' yet!" The first words heard in the first talkie, "The Jazz Singer," said by Al Jolson.

Jack Nicholson trying to order a chicken salad sandwich in "Five Easy Pieces."

"Nobody's perfect": Joe E. Brown's last line in "Some Like It Hot," explaining to Tony Curtis why he plans to marry Jack Lemmon even though he is a man.

"Rosebud."

The shooting party in Renoir's "Rules of the Game."

The haunted eyes of Antoine Doinel, Truffaut's autobiographical hero, in the freeze frame that ends "The 400 Blows."

Jean-Paul Belmondo flipping a cigarette into his mouth in Godard's "Breathless."

The casting of the great iron bell in Andrei Tarkovsky's "Andrei Rublev."

"What have you done to its eyes?" Dialogue by Mia Farrow in "Rosemary's Baby."

Moses parting the Red Sea in "The Ten Commandments."

An old man found dead in a child's swing, his mission completed, at the end of Kurosawa's "Ikiru."

The haunted eyes of the actress Maria Falconetti in Dreyer's "The Passion of Joan of Arc."

The children watching the train pass by in Ray's "Pather Panchali."

The baby carriage bouncing down the steps in Eisenstein's "Battleship Potemkin."

"Are you lookin' at me?" Robert De Niro in "Taxi Driver."

"My father made them an offer they couldn't refuse:" Al Pacino in "The Godfather."

The mysterious body in the photographs in Antonioni's "Blow-Up."

"One word, Benjamin: plastics." From "The Graduate."

A man dying in the desert in von Stroheim's "Greed."

Eva Marie Saint clinging to Cary Grant's hand on Mt. Rushmore in "North by Northwest."

Astaire and Rogers dancing.

"There ain't no sanity clause!" Chico to Groucho in "A Night at the Opera."

"They call me Mr. Tibbs." Sidney Poitier in Norman Jewison's "In the Heat of the Night."

The sadness of the separated lovers in Jean Vigo's "L'Atalante."

The vast expanse of desert, and then tiny figures appearing, in "Lawrence of Arabia."

Jack Nicholson on the back of the motorcycle, wearing a football helmet, in "Easy Rider."

The geometrical choreography of the Busby Berkeley girls.

The peacock spreading its tail feathers in the snow, in Fellini's "Amarcord."

Robert Mitchum in "Night of the Hunter," with "LOVE" tattooed on the knuckles of one hand, and "HATE" on the other.

Joan Baez singing "Joe Hill" in "Woodstock."

Robert De Niro's transformation from sleek boxer to paunchy nightclub owner in "Raging Bull."

Bette Davis: "Fasten your seat belts; it's gonna be a bumpy night!" in "All About Eve."

"That spider is as big as a Buick!" Woody Allen in "Annie Hall."

The chariot race in "Ben-Hur."

Barbara Harris singing "It Don't Worry Me" to calm a panicked crowd in Robert Altman's "Nashville."

The game of Russian roulette in "The Deer Hunter."

Chase scenes: "The French Connection," "Bullitt," "Raiders of the Lost Ark," "Diva."

The shadow of the bottle hidden in the light fixture, in "The Lost Weekend."

"I coulda been a contender." Brando in "On the Waterfront."

George C. Scott's speech about the enemy in "Patton:" "We're going to go through him like crap through a goose."

Rocky Balboa running up the steps and pumping his hand into the air, with all of Philadelphia at his feet.

Debra Winger saying goodbye to her children in "Terms of Endearment."

The montage of the kissing scenes in "Cinema Paradiso."

The dinner guests who find they somehow cannot leave, in Bunuel's "The Exterminating Angel."

A knight plays chess with Death, in Bergman's "The Seventh Seal."

The savage zeal of the Klansmen in Griffith's "The Birth of a Nation."

The problem of the door that won't stay closed, in Jacques Tati's "Mr. Hulot's Holiday."

"I'm still big! It's the pictures that got small!" Gloria Swanson in "Sunset Boulevard."

"We're a long way from Kansas!" Judy Garland in "The Wizard of Oz."

An overhead shot beginning with an entrance hall, and ending with a closeup of a key in Ingrid Bergman's hand, in Hitchcock's "Notorious."

"There ain't much meat on her, but what's there is choice." Spencer Tracy about Katharine Hepburn in "Pat and Mike."

The day's outing of the mental patients in "One Flew Over the Cuckoo's Nest."

"I always look well when I'm near death." Greta Garbo to Robert Taylor in "Camille."

"It took more than one night to change my name to Shanghai Lily." Marlene Dietrich in "Shanghai Express."

"I'm walkin' here!" Dustin Hoffman in "Midnight Cowboy."

W.C. Fields flinching as a prop man hurls handfuls of fake snow into his face in "The Fatal Glass of Beer."

"The next time you got nothin' to do, and lots of time to do it, come up and see me." Mae West in "My Little Chickadee."

"Top o' the world, Ma!" James Cagney in "White Heat."

Richard Burton exploding when Elizabeth Taylor reveals their "secret" in "Who's Afraid of Virginia Woolf?"

Henry Fonda getting his hair cut in "My Darling Clementine."

"Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!" Alfonso Bedoya to Humphrey Bogart in "The Treasure of the Sierra Madre."

"There's your dog. Your dog's dead. But there had to be something that made it move. Doesn't there?" Line from Errol Morris' "Gates of Heaven."

"Don't touch the suit!" Burt Lancaster in "Atlantic City."

Gena Rowlands arrives at John Cassavetes' house with a taxicab full of adopted animals, in "Love Streams."

"I want to live again. I want to live again. I want to live again. Please God, let me live again." Jimmy Stewart to the angel in "It's a Wonderful Life."

Burt Lancaster and Deborah Kerr embrace on the beach in "From Here to Eternity."

Mookie throws the trash can through the window of Sal's Pizzeria, in "Do the Right Thing."

"I love the smell of napalm in the morning," dialogue by Robert Duvall, in "Apocalypse Now."

"Nature, Mr. Allnut, is what we are put in this world to rise above." Katharine Hepburn to Humphrey Bogart in "The African Queen."

"Mother of mercy. Is this the end of Rico?" Edward G. Robinson in "Little Caesar."

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#23 August 11, 2010

From the Grand Poobah: Time passes twice now, first as real time, then as remembrance of things past, as I search my memory for my memoir. As my eyes lift up from my keyboard, they stare sightlessly straight ahead and old faces and places pass in review. So I take a photo of where I'm looking, in order to record what I see. When the picture was taken, Gene and I were in the Brown Derby at Disney World while taping an Oscar special; I'd like to say I have no idea of who came up with the idea for that composition, but I do, and it was yours faithfully, the Poobah.

(click to enlarge and read book spines; smile.)

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Thank you for smoking

This stamp honoring Bette Davis was issued by the U. S. Postal Service on Sept. 18. The portrait by Michael Deas was inspired by a still photo from "All About Eve." Notice anything missing? Before you even read this far, you were thinking, Where's her cigarette? Yes reader, the cigarette in the original photo has been eliminated. We are all familiar, I am sure, with the countless children and teenagers who have been lured into the clutches of tobacco by stamp collecting, which seems so innocent, yet can have such tragic outcomes. But isn't this is carrying the anti-smoking campaign one step over the line?

Depriving Bette Davis of her cigarette reminds me of Soviet revisionism, when disgraced party officials disappeared from official photographs. Might as well strip away the toupees of Fred Astaire and Jimmy Stewart. I was first alerted to this travesty by a reader, Wendell Openshaw of San Diego, who wrote me: "Do you share my revulsion for this attempt to revise history and distort a great screen persona for political purposes? It is political correctness and revisionist history run amok. Next it will be John Wayne holding a bouquet instead of a Winchester!"

The great Chicago photographer Victor Skrebneski took one of the most famous portraits of Davis. I showed him the stamp. His response: "I have been with Bette for years and I have never seen her without a cigarette! No cigarette! Who is this impostor?" I imagine Davis might not object to a portrait of her without a cigarette, because she posed for many. But to have a cigarette removed from one of her most famous poses! What she did to Joan Crawford in "What Ever Happened to Baby Jane" wouldn't even compare to what ever would have happened to the artist Michael Deas.

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Movie Answer Man (09/22/2002)

Q. I don't think I've read more consistently outstanding reviews for a movie than I have for Visconti's "The Leopard" (1963). For being an award-winning foreign film, it is strangely absent from video, DVD, movie houses, cable, etc. Any idea why this great film hasn't been converted for public consumption? (Lynn Phillips, Urbana IL)

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John Frankenheimer: A master craftsman

To understand the special gift of John Frankenheimer, it is better to start with his stories instead of his movies. Yes, he made some of the most distinctive films of his time (and began and ended as one of the most gifted directors of drama on television) but the films were mostly serious, and Frankenheimer was a very funny man.

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AFI list is full of talent but empty of meaning

As part of its ongoing national effort to lead the nation to discover and rediscover the classics, the American Film Institute (AFI) today announced the 50 greatest American screen legends - the top 25 women and top 25 men naming Katharine Hepburn and Humphrey Bogart the number one legends among the women and men.

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Malle's only constant was unpredictability

Louis Malle, who died last week at 63, was a director whose movies caused scandal sometimes for their content, sometimes for their style, sometimes for both. The respected French filmmaker, married since 1980 to actress Candice Bergen, died Thursday at their home in Los Angeles, from lymphoma.

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Lancaster Wrote Own Script

With the rugged features of a matinee idol and the physique of a trapeze artist, Burt Lancaster might easily have been typecast by Hollywood. But although he celebrated his physical grace and was not shy about appearing in action pictures, there was another side to his acting, right from the first: an angry, intellectual, introspective side that led him to give some of the best performances of his generation.

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In Memory: Burt Lancaster

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With the rugged features of a matinee idol and the physique of a trapeze artist, Burt Lancaster might easily have been typecast by Hollywood. Although he celebrated his physical grace and was not shy about appearing in action pictures, there was another side to his acting, right from the first: An angry, intellectual, introspective side, that led him to give some of the best performances of his generation.

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Whoopi Goldberg among the stars

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Whoopi Goldberg has collected many words of wisdom over the years. She makes it her practice to go to all those Hollywood fund-raisers with an autograph book, and she sidles up to the heroes of her youth and asks them for advice."Jessica Tandy told me, 'Listen to this. Take the work. People will tell you you're overexposed, but you only get better when you take the work.' Jimmy Stewart told me you have to be the big actor in little movies, and the little actor in big movies, that's how you get better. Burt Lancaster said, 'Listen, kid, this is a bitch of a business. You're gonna be okay. Tell the truth, hit your marks, do your job, and if it's you on the screen, then fight for it. They're going to say terrible things about you, but no one will ever be able to say that you didn't shoot for the very best you're capable of'."Goldberg curled up in the corner of a sofa and lit a Marlboro and smiled. "I talk to everybody at those Happy Birthday salutes to Hollywood. That's why I do them. I bring my autograph book, and I corner people and I talk to them."With responses like that, maybe you ought to have a talk show."If I was doing a talk show," she said, "I would do the kind of show that comes on just once a month, with amazing guests. I'd like to do the three first ladies, Lady Bird Johnson--the Bird, who I adore--Betty Ford, and Rosaland Carter. I would like to say to the Bird, 'Now listen, we've read all these books about what happened. How did you stay with this guy?' She was really, I think, the balls behind the man after awhile.  He was my favorite president, because you knew where he stood. You scratch my back, I'll scratch yours."We were having this  conversation one afternoon last September at the Toronto Film Festival, after a screening of "The Long Walk Home," a movie that is just now going into national release. It's the story of the 1955 Montgomery Bus Boycott, told through the eyes of Goldberg, as a maid, and Sissy Spacek, as her employer. But we were also talking about "Ghost," which had come out not long before, and was already at the top of all the money charts.It's the number one hit, I said, wonderingly."I know. It just cracks me up."I don't know where Whoopi Goldberg was the day they announced the Oscar nominations, and I don't know how she reacted, but when they read her name for her supporting work in "Ghost," my guess is that she laughed long and loudly. In my fantasy she laughed because she was delighted, of course, but also because of the irony of the whole thing: She was nominated for a role the filmmakers agonized for months over giving her, at a time when her screen career was allegedly in the toilet. It may also have occurred to her, as it did to me, that the Oscar nomination came for the kind of work she has done many times before in the movies--while the Academy overlooked her inspired and truly wonderful performance in "The Long Walk Home."In the movie, Spacek and her husband (Dwight Schultz) lead a comfortable middle-class life in Montgomery, made easier by the labors of their cook and maid. Then Rosa Parks refuses to move to the back of the segregated bus, and that leads to a bus boycott. For the maid, Goldberg, it also means a long walk to and from work every day. Spacek's husband, a white supremacist, thinks that serves her right. But Spacek secretly begins to provide her maid with a ride some days of the week, and that experience opens her eyes to a few of the realities of her society. One of the qualities which makes the movie special is that the family lives of both women are treated by the story. A few years ago, the movie would have been told through the eyes of the Spacek character, and the Goldberg character's reality would have been defined mostly in terms of her work as a maid who undergoes heroic suffering. In "The Long Walk Home" we learn, however, that Goldberg has a husband and children, makes a good home for them, and has a whole existence little guessed at by her employer."That was one of the areas where I had to take Burt Lancaster's advice, and fight, because it was me on the screen," Goldberg said. "When they were talking about scenes they  thought they might be able to lose, and two of the scenes were my family scenes, I lived up to my reputation, and went ape crap. But they're in there."One of the things I didn't like, I said, was the gratuitous narration by young daughter of the Spacek character, who has no real role on the screen. She appears on the soundtrack, telling her memories of what her mother went through at that time. The narration is obviously not necessary, and seems to exist only to reassure white viewers that the movie is told from their point of view."I couldn't agree more," Goldberg said. "It bugged the hell out of me. Why couldn't the narrator have been my kid, or no kid? Why couldn't the story stand on its own? I didn't understand why they put it in there. Maybe they wanted to show how brave the white woman was in the face of all of this. But the black woman was brave, too. "The thing that saved us is the fact that my family comes off as a real family. My husband works. He's a working man, and he's got some anger, but it's not 'we-gonna-get-you-Whitey' anger. It's about how people had to behave. People have told me it's a very restrained performance. It's restrained because that's what those woman had to do. They were mad, but they had to work to support their families."There's a scene where the white in-laws talk with incredibe rudeness right in front of your character, as you're serving them dinner, and when you get down to the bottom of the driveway with the cook you say, "She damn near got a plate full of food right upside her head."Goldberg grinned. "Yeah. You know, it was a big thrill to sit down and see this thing. I'm just really proud of it. I could say all kinds of stuff, little nit-picky stuff, but it's not necessary. People will take from it what they take, but I really am glad, thrilled actually, that it is as equal as it is in showing the two families, because, boy, it could have gone the complete other way."Now about Goldberg's other role, the one that won the Oscar  nomination. We didn't really discuss it much; the occasion for our talk was "The Long Walk Home." But we did discuss Oscar possibilities, and, for me, that Montgomery maid was a sure bet. I was wrong--maybe because the movie wasn't seen by nearly as many people as "Ghost." "The Long Walk Home" opened briefly in December in New York and Los Angeles to qualify for Oscars, was lost in the Christmas avalanche, and is ironically now opening just in time to benefit from Goldberg's "Ghost" nomination.What's disappointing is that Goldberg's role in "Ghost" is the sort of thing she has done before in several films. Her character, a psychic who starts picking up vibes from a dead husband and acts as his conduit to his wife, is well-played, warm and funny. But it isn't new. And it helps illustrate one of Goldberg's big professional frustrations: The type-casting that prevents her from being considered for certain kinds of roles."There are roles I am never considered for. Meryl Streep roles, let's say. Why not? I really wanted to do 'Ironweed,' for example,  because the depression era in this country was one of the best for multiracial people, because everybody was poor. Everybody lived in the tents, and under buildings, and under gratings, together. It is a frustrating thing that I was not considered for that role. Or a lot of roles that could be played by a black woman, except they never think that way. Or male roles. I would love to play a male role. "I have the strangest time to get cast in anything. 'Ghost' was the same thing.  Six months I had to wait for them to decide they had seen everybody possible. Why not? What limits me? I'm black? Oh, am I black? What will I be when you shoot me? I could be from England. It took MTV to tell us that there are black people in England! It took Fassbinder with his black actors to tell us there are black people in Germany. Sad to say, but over the last five years, I have come to the realization that I am black, and somehow that's supposed to hinder me."It's not that Meryl takes my roles. Sigourney doesn't take my roles. It's that I'm not allowed in the door to read for the things. I feel that I could have played the Glenn Close role in 'Fatal Attraction.'  It  would have been interesting. Maybe not the same, but interesting."But then they would have felt they had to explain the interracial relationship."All right, then, why can't I have a relationship with a Warren Beatty, or a Jack Nicholson? I think acting-wise I'm up for it, but I'm plodding along, and I just keep hoping for the best. Sean Connery has always been the epitome of a man to me, I'd love to play opposite him. People say.'But he's the one who says it's okay to pop a woman every once in a while,' and I say, 'Yeah, well, he'd pop me once, and that would be it. I'd break his arms.' But why can't this kind of casting be considered? There was an article in the paper that showed artists that have played other ethnic groups, like Yul Brynner and Brando, and they were wonderful in these parts. Then  somebody said to me, 'Do you think that Olivier should have played Othello? He's called the greatest Othello that ever lived!'"And I asked, how many black actors got the opportunity? How do we know he was the greatest? It wasn't like there was a large group of people offered the role, and he happened to get it because he was the best. All actors should be able to play all roles, that's the magic. But the opportunities are not there."Actually, I said, your very name is an attempt to fly in the face of preconceptions."I can't tell you how many people have said, 'So where did the name Goldberg come from?' And I say it came from my mom. That it was my grandmother's mother's mother's  maiden name. And they say, 'But you know it's a Jewish name.' And I say, 'Well, I'm a Jewish girl, with a Catholic upbringing.' And they go, 'Oh, really?' It's just so odd, you're not allowed to just be an actor. You have to be in some category. They have to be able to look at you and tell you what roles you can play."I was talking to a lady who was asking, 'Why do you make these movies that don't make money?'  I said, 'Did you ever ask Meryl that question? Because I don't remember Meryl being in any big box office movies. Does box office the actor make now? Is that what you mean? I'm an actor now because I've finally made a movie that made some money?"It's true that Goldberg wasn't in an enormous box office hit between her first movie, "The Color Purple," and "Ghost." But in her case the theatrical box office figures don't tell the whole story. Ask the guy behind the counter at the  video store and you'll discover that for some reason she is a superstar on home video. Entertainment Weekly recently singled her out in that category, reporting, for example, that her "Jumpin' Jack Flash," sold 6.9 million theatrical tickets (itself not so bad), but has been rented on video more than 19 million times.Why is that? Maybe it's because Whoopi Goldberg sort of grows on you. She doesn't have conventional beauty, she doesn't play conventional roles, but there is always a presence there, and usually it's interesting. She's not like everyone else on the screen. Just by persisting, by being herself and yet playing roles that the conventional wisdom says she's wrong for, she may be helping to expand the ranges of a lot of actors. At first, Hollywood treated her like an alien from outer space: She played one-of-a-kind characters who had few real relationships with anybody."It's a very old argument, that I look wrong for certain roles," she said. "It has a lot to do with people's personal stuff. I worked with Sam Elliott in a film called 'Fatal Beauty,' and one of the initial talks that I had with the director after the contracts were signed was about this scene that was a really great love scene. I don't have the body to take my clothes off, but you know, it had hands to faces, and kisses, and all that romantic stuff that you always want when you find the right guy. "It's the right stuff, and the director said to me, 'Well you know this character is somewhat based on me, and frankly, I don't see him seeing anything attractive about you.' So I just kind of took a deep breath, and said, 'Well maybe he had many years of drugs, and he just doesn't know any better, and his brain is half fried.' Sam Elliott did have a sort of love interest with you in "Fatal Beauty," I said."Yeah, they couldn't get around it."He kissed you. "Yes, and I gave him a peck and a hug, but there was no deep sort of Mickey Rourke kissing going on. I've had two kisses in my career. That, and also of course my hair has bothered people for many years. Finally Euzan Palcy and Milli Vanilli came along, and they decided maybe braids were okay. I've even worn a dress or two recently, and now people suspect that there may be something interesting under there, and I guess I'm growing into my face, or they're just getting used to me, and so they're finally sort of talking to me about woman's roles. 'The Long Walk Home' is the first movie where I have a family, and a love interest, who even kisses me. It's wild."She lit another cigarette, and blew out smoke, and sighed."All I really want to do, is just keep acting, and some of it will stink, and some of it will be really good, and maybe when I'm 85, and presenting an Oscar like Bette Davis did, I can look back and say, it was okay, I did all right."You know what Bette Davis told me?  She told me, 'F---  'em! F--- 'em!' That's what she said to me. 'They told me I couldn't do this, and I couldn't do that, and f--- you, I told them!  So Whoopi, f---  'em!' That's what she told me, and she was right, you do the best job you can, and when it works, thank you very much, and when it doesn't there's next year, you know, and maybe the year after that."

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Interview with Sybil Danning

CANNES, FRANCE - After a thorough and impartial search of the beaches, hotel lobbies and screens of the 35th annual Cannes Film Festival, I am pleased to announce my selection of the 1982 Cannes Sex Symbol of the Year. Previous winners have included Edy Williams, who rode naked atop a convertible through the old marketplace of this once sleepy little fishing village; Barbara Ferrera, who told me she would rather play a scene with a jaguar than with a man, and Bo Derek, who did not even need to attend the festival to win the honor.

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Sybil Danning: 1982 Cannes Sex Symbol of the Year

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CANNES, FRANCE - After a thorough and impartial search of the beaches, hotel lobbies and screens of the 35th annual Cannes Film Festival, I am pleased to announce my selection of the 1982 Cannes Sex Symbol of the Year. Previous winners have included Edy Williams, who rode naked atop a convertible through the old marketplace of this once sleepy little fishing village; Barbara Ferrera, who told me she would rather play a scene with a jaguar than with a man, and Bo Derek, who did not even need to attend the festival to win the honor.

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