Screenwriters Kenya Barris and Tracy Oliver know how to get the party started and keep it lively.
* 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.
Wednesday, July 18, is the 20th anniversary of our marriage. How can I begin to tell you about Chaz? She fills my horizon, she is the great fact of my life, she has my love, she saved me from the fate of living out my life alone, which is where I seemed to be heading. If my cancer had come, and it would have, and Chaz had not been there with me, I can imagine a descent into lonely decrepitude. I was very sick. I might have vegetated in hopelessness. This woman never lost her love, and when it was necessary she forced me to want to live. She was always there believing I could do it, and her love was like a wind forcing me back from the grave.
An article about Ebertfest, Roger Ebert's Film Festival 2017 passes, which are now on sale.
A gallery of photos, videos and links illustrating Chaz's journey relating to Roger's legacy in the two years since his death.
An essay on the opening of "Life Itself" in Mexico City.
A note of thanks from Chaz Ebert to the wonderful people behind "Life Itself."
"Life Itself" airs on CNN Friday, January 9th.
"Life Itself" airs on CNN Sunday, January 4th.
"Life Itself" screens at 8pm Wednesday, October 22nd, at the Chicago International Film Festival.
Chaz reflects on the last year.
Editor's Note: Filmmaker Gregory Nava wrote the following essay for inclusion in the program book for the 2014 Spirit Awards, where Roger was honored in March.
Chaz writes to Roger about attending the Oscars without him.
Michael Mirasol shares what he wants to say to Roger after seeing "Life Itself".
Chaz reflects on her experience seeing the documentary about Roger at the Sundance Film Festival.
Matt Zoller Seitz interviews Steve James, director of "Life Itself," a documentary adapting Roger Ebert's memoir.
The first recipients of the Sundance Institute's Roger Ebert Scholarship for Film Criticism make their debut at the Sundance Film Festival.
Hollywood and indie film directors, actor John Cusack, actor Chris Tucker, comedian and philanthropist Dick Gregory, former Playboy chair Christie Hefner and the president of Sony Pictures Classics, and the lead critics from Variety, The Hollywood Reporter, and the Chicago Film Critics Association, will join other celebrities, friends and colleagues to pay tribute to iconic film critic Roger Ebert’s life and prolific career at “Roger Ebert: A Celebration of Life,” this Thursday, April 11, at 7 p.m. at the Chicago Theatre, 175 N. State St.
With the passing of Andy Williams, I keep imagining his golden tenor singing Henry Mancini's "Moon River." The song talks about crossing life in style. "Breakfast at Tiffany's" is all about fashionable cafe society and love; in an adult fairy tale, you can have both even if you are two drifters.
The director Gregory Nava once commented, "Whenever any question of style or taste in dress comes up, I simply ask myself, 'What would Fred Astaire have done?'" Audrey Hepburn is Astaire's female equivalent: sophistication mixed with fizzy fun.
I met Anna Thomas at the 1975 Chicago Film Festival. She was not yet 30, and already the world's most famous vegetarian cookbook author because of The Vegetarian Epicure,published by Knopf when she was 24. It sold well over a million copies.
When people cheerfully tell me, "I have a trivia question" for you, I have a cheerful answer for them, but I rarely express it: "I'm a professional. Ask an amateur." Why in the name of Buster would I want to clutter my memory with useless facts? During long, hard years of being asked trivia questions, I have learned one thing for sure. The person asking me is in the possession of one fact, and is pretty confident I don't know it. Therefore, my admission of defeat will demonstrate their superiority.
I know something about the movies, and here is how I really should reply: "Before I even attempt to answer your question, let me ask you five questions to see if you are qualified to even take up the time of a busy, busy man such as myself. (1) What is the name of the film that codified the language of the cinema? (2) Who was the third great silent clown? (3) Is color intrinsically better than black-and-white? (4) What movie set key scenes on board a train going from Chicago to Urbana, Illinois? (5) Name at least five directors of the French New Wave.
It's a good thing Ebertfest is no longer called the Overlooked Film Festival. One of my choices this year, "Frozen River," was in danger of being overlooked when I first invited it, but then it realized the dream of every indie film, found an audience and won two Oscar nominations. Yet even after the Oscar nods, it has grossed only about $2.5 million and has been unseen in theaters by most of the nation.
Those numbers underline the crisis in independent, foreign or documentary films--art films. More than ever, the monolithic U.S. distribution system freezes out films lacking big stars, big ad budgets, ready-made teenage audiences, or exploitable hooks. When an unconventional film like "Slumdog Millionaire" breaks out, it's the exception that proves the rule. While it was splendid, it was not as original or really as moving as the American indie "Chop Shop," made a year earlier. The difference is, the hero of "Chop Shop" wasn't trying to win a million rupees--just to survive.
Based on his show-stopping speech at Saturday night's Independent Spirit Awards, if Mickey Rourke wins an Oscar on Sunday night the Oscarcast is going to be a lollapalooza. As his comeback film "The Wrestler" won for best film, male actor and cinematography, Rourke brought the show to a halt and the audience to its feet with an acceptance speech that was classic Mickey. The Indie Spirits are telecast live and unbleeped, which added considerably to the speech's charm.
That's the hard-boiled Dragline, speaking of Cool Hand Luke.
After she read my obituary of Paul Newman, my wife Chaz asked me, "Why didn't you write more about his acting?" She was right. Why didn't I? I've been asking myself that. Maybe I was trying to tell myself something. I think it was this: I never really thought of him as an actor. I regarded him more as an embodiment, an evocation, of something. And I think that something was himself. He seemed above all a deeply good man, who freed himself to live life fully and joyfully, and used his success as a way to follow his own path, and to help others.
A critic at a performance is like a eunuch at a harem. He sees it done nightly, but is unable to perform it himself. --Brendan Behan
A lot of people don't know what "critic" means. They think it means, "a person who criticizes." They don't like people who do that. It seems an impotent profession. Critics are nasty, jealous, jaded and bitter. They think it's all about them. They're know-it-alls. They want to appear superior to everyone else. They're impossible to please. They don't understand the tastes of ordinary people. They love to tear down other people's hard work. Those who can do it, do it. Those who can't do it, criticize. What gives them the right to have an opinion? We'd be better off without them.
Criticism is a destructive activity. If I like something and the critics didn't, they can't see what's right there before their eyes because they're in love with some theory. They don't have feelings; they have systems. They think they know better than creators. They praise what they would have done, instead of what an artist has done. They use foreign words to show off. They're terrified of being exposed as the empty poseurs they are. They are leeches on the skin of art.
Nobody ever seemed to know what Dusty Cohl did for a living. He was a lawyer, and it was said he was "in real estate," but in over 30 years I never heard him say one word about business. His full-time occupation was being a friend, and he was one of the best I've ever made.
by Roger Ebert