A wild whirlwind of a mess, without any coherence, without even a guiding principle.
The place for everything that doesn't have a home elsewhere on RogerEbert.com, this is a collection of thoughts, ideas, snippets, and other fun things that Roger and others posted over the years.
More moviegoers see films on video in some form than ever before -- whether streaming on demand, cable or satellite, instant download services, DVD or Blu-ray. Even high-profile pictures become available to home viewers before or at the same time as their theatrical release. Reviewing them is a job for... The Demanders!
Our Far-Flung Correspondents are cinephiles from all over the world, hand-picked by Roger Ebert to write about movies from their unique international perspectives. They include contributors from (alphabetically) Brazil, Canada, Egypt, Great Britain, India, Mexico, the Philippines, South Korea, Turkey and the U.S. They converge every year at Ebertfest.
Since he started as film critic for the Chicago Sun-Times in 1967, and began covering movies locally and at international film festivals, Roger Ebert has met and interviewed countless movie idols, artists and unknowns -- some of them even before they became famous. There's hardly a major figure in the history of movies, from the last part of the 20th century into the 21st, that he hasn't encountered.
Roger Ebert has attended international film festivals and events for almost half a century, from the Kolkata International Film Festival to the Academy Awards. In addition to his coverage, our contributors report the latest from Cannes, Telluride, Toronto, Sundance and other movie showcases world-wide.
"Life Itself," based on Roger Ebert's memoir and directed by Steve James, will open in theaters and be available On Demand on July 4, 2014.
The Cannes International Film Festival is the most talked-about film festival of the year, where directors from around the world showcase their newest work, from the most challenging art cinema to the big blockbusters. For many years, Roger Ebert and a team of contributors have covered Cannes, and we are continuing that tradition with start-to-finish coverage from around the festival.
A collection of tributes to Roger from various sources.
The opening shot of a movie can tell us a lot about how to view and interpret what follows. It can even represent the whole movie in miniature. The Opening Shots Project collects illustrated analyses of some of Jim Emerson's favorites, and contributions from Scanners readers.
Update, 2008: This 1980 interview is all quite true, but it entirely misses something. It must have happened at a different time, and I can't track down the piece. Here's what I remember. I had a one-on-one interview with Parton in a hotel suite. As we spoke, I found myself enveloped by her presence. This had nothing to do with sex appeal. Far from it. It was as if I were being mesmerized by a benevolent power. I left the room in a cloud of good feeling. Next day, Siskel and I were sitting next to each other on an airplane. "This will sound crazy," he said, "but when I was interviewing Dolly Parton, I almost felt like she had healing powers."
Mae West, who gave her name to a life jacket and her style to an era, is dead at 88. She died of natural causes Saturday in the Hollywood apartment building she owned -- in the all white, flower filled penthouse where in recent years a parade of admirers had come up to see her sometimes.
Steve McQueen is dead at 50. The actor, one of a
TORONTO, CANADA - James Coburn is one of those movie stars who inspire an instinctive reaction in a lot of people. They seem to believe he's getting away with something. Maybe it's that grin, the one that somehow suggests that fate has given Coburn a free lifetime pass. In the 1960s, that decade when the generation under 30 seemed drenched in euphoria, Coburn's grin hinted that he was...well, always stoned. Now it is 1980, and the grin still hints at the same thing. James Coburn is not, however, always stoned. He just looks that way; it's part of his image.
It's simply one of the things we're going to get over, this business of thinking and writing about "women directors." To be sure, most movie directors are men. But they're no longer necessarily men, and when
LOS ANGELES -- On those few occasions when a dream does come true, its reality can look like this:
LOS ANGELES - Paul Mazursky, in 1980, is very much an outsider in contemporary Hollywood. At a time when the bosses of the major studios are engaged in games of musical chairs, when few studio chiefs give any thought to long-term filmmaking philosophies. When the creative deal is more highly regarded than the creative film, when bloated budgets are poured into films that will become either monster hits or complete write-offs...at a time like this, Paul Mazursky is so out of date he seems almost Victorian.
TORONTO, CANADA - About halfway into "Divine Madness," Bette Midler is doing a series of dirty jokes and somebody in the audience shouts out that she should tell the taco joke. "The taco joke?" Bette asks. "You think I'm crazy? I know what the movie audience will go for, how much I can get away with.... Remember, this is the time-capsule version."
LOS ANGELES - It's a Hollywood rite of passage, a young actress' transition from playing teenagers to playing young women. Agents, managers and the actress herself study dozens of scripts, searching for the right one, the one in which the actress can grow up gracefully and alter her image for the long haul through her 20s and 30s.
[A reconstructed version of Samuel Fuller's "The Big Red One" is going into release around the country, and will soon be on DVD. Roger Ebert talked to the legendary director at Cannes 1980.]