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Russ Meyer describing Roger Ebert's love for bre@sts: "Roger Ebert had that wonderful sickness about him. 'Bosomania'. He was a freako over t*ts. Ebert is more debauched than I. Ebert is truly a Jekyll and Hyde. We’ve got to make that clear. He is more into bre@sts than I...

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DepressedBergman

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After "Supervixens" (1975) became a tremendous success at the box office, Russ Meyer said, "I plan to stick to what I know works and make one X picture after the next and be even more outrageous with s € x and keep pushing the boundaries further and further." His next movie was "Up!" (1976) When he was asked about the movie appealing to prurient interest, he said, "Sure, it appeals to prurient interest. Why not appeal to prurient interest?" Despite the movie being successful, Russ Meyer wasn't "Particularly pleased" with the end product. He later said, "At the time I was fairly pleased, but I see a lot of reasons why it was not as successful as 'Supervixens' was." [1)"Meyer: Up to his old chicks again" Marilynn Preston, Chicago Tribune, 1975, 2) "Russ Meyer, Almost An American Institution: Russ Meyer, Kenneth Turan, The Washington Post, 1976 & 3)"Russ Meyer: Ten Years After the 'Beyond", Roger Ebert, Film Comment, 1980]
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After "Supervixens" (1975) became a tremendous success at the box office, Russ Meyer said, "I plan to stick to what I know works and make one X picture after the next and be even more outrageous with s € x and keep pushing the boundaries further and further." His next movie was "Up!" (1976) When he was asked about the movie appealing to prurient interest, he said, "Sure, it appeals to prurient interest. Why not appeal to prurient interest?" Despite the movie being successful, Russ Meyer wasn't "Particularly pleased" with the end product. He later said, "At the time I was fairly pleased, but I see a lot of reasons why it was not as successful as 'Supervixens' was." [1)"Meyer: Up to his old chicks again" Marilynn Preston, Chicago Tribune, 1975, 2) "Russ Meyer, Almost An American Institution: Russ Meyer, Kenneth Turan, The Washington Post, 1976 & 3)"Russ Meyer: Ten Years After the 'Beyond", Roger Ebert, Film Comment, 1980]

DepressedBergman

358,850 Aufrufe • vor 7 Tagen

Meir Zarchi on whether "I Spit on your Grave" (1978) could've been made with less nud!ty & violence, and his response to Roger Ebert's scathing review of the movie: "Interviewer: Could the original film have been made with less nud!ty and explicit violence? Zarchi: Why, Gavin, to appease who? Interviewer: Not to appease anyone… just do you feel personally that it could have been done? Zarchi: Of course! I could have made the actors fully clothed as well. But that wouldn’t be reality. What would you prefer? Would you prefer to see the film with less nudity? Interviewer: No, not at all. My point is that with the way they remade it, toned it down, I think they took something away from the original. Zarchi: Okay, that’s a nice comment. In other words, you agree with the way it was originally made rather than the remake? (...) Interviewer: I’m curious what your response would be to Roger Ebert? Zarchi: Who is Roger Ebert? Interviewer: You don’t know Roger Ebert? Zarchi: Tell me, who is Roger Ebert? Interviewer: He’s a movie critic… Zarchi: I believe he’s the guy who “I Spit On Your Grave” made famous. Interviewer: That is probably true." (Meir Zarchi's interview with Gavin Schmitt, 2011)
1:45

Meir Zarchi on whether "I Spit on your Grave" (1978) could've been made with less nud!ty & violence, and his response to Roger Ebert's scathing review of the movie: "Interviewer: Could the original film have been made with less nud!ty and explicit violence? Zarchi: Why, Gavin, to appease who? Interviewer: Not to appease anyone… just do you feel personally that it could have been done? Zarchi: Of course! I could have made the actors fully clothed as well. But that wouldn’t be reality. What would you prefer? Would you prefer to see the film with less nudity? Interviewer: No, not at all. My point is that with the way they remade it, toned it down, I think they took something away from the original. Zarchi: Okay, that’s a nice comment. In other words, you agree with the way it was originally made rather than the remake? (...) Interviewer: I’m curious what your response would be to Roger Ebert? Zarchi: Who is Roger Ebert? Interviewer: You don’t know Roger Ebert? Zarchi: Tell me, who is Roger Ebert? Interviewer: He’s a movie critic… Zarchi: I believe he’s the guy who “I Spit On Your Grave” made famous. Interviewer: That is probably true." (Meir Zarchi's interview with Gavin Schmitt, 2011)

DepressedBergman

1,004,024 Aufrufe • vor 2 Monaten

Roger Ebert & Gene Siskel hated Jim Carrey's performance in "Ace Ventura: Pet Detective" (1994). Ebert even predicted that Carrey won't have much of a career. After watching "The Truman Show" (1998), Ebert not only gave a thumbs up, but admitted that he didn't get much of what Carrey was doing at the beginning of his career, but over the course of 4 years he understood and started to appreciate his performances. Ebert & Siskel aired an entire episode for him. Ebert interviewed Jim Carrey before the said episode. During that interview, Carrey brought up the thumbs down review and said, "I really like to look at life as the negatives are things to learn from, or things to to tell you it's not all gonna be roses. That's how I looked at it [thumbs down]. I thought, 'I hope the movie does good but a lot of people aren't gonna like it.'" P.S: On this day, 28 years ago, Petere Wier's "The Truman Show" (1998) premiered in Westwood, California.
1:50

Roger Ebert & Gene Siskel hated Jim Carrey's performance in "Ace Ventura: Pet Detective" (1994). Ebert even predicted that Carrey won't have much of a career. After watching "The Truman Show" (1998), Ebert not only gave a thumbs up, but admitted that he didn't get much of what Carrey was doing at the beginning of his career, but over the course of 4 years he understood and started to appreciate his performances. Ebert & Siskel aired an entire episode for him. Ebert interviewed Jim Carrey before the said episode. During that interview, Carrey brought up the thumbs down review and said, "I really like to look at life as the negatives are things to learn from, or things to to tell you it's not all gonna be roses. That's how I looked at it [thumbs down]. I thought, 'I hope the movie does good but a lot of people aren't gonna like it.'" P.S: On this day, 28 years ago, Petere Wier's "The Truman Show" (1998) premiered in Westwood, California.

DepressedBergman

479,979 Aufrufe • vor 1 Monat

On this day, 39 years ago, Richard Donner's "Lethal Weapon" (1987) was released in the USA & Canada. Roger Ebert played a huge role in the film's success. When he and Gene Siskel reviewed it on their TV show, Ebert raved about it, said the film "thrilled me from beginning to end" and said it was both a great action film and a well-written drama. He later gave it 4 stars in a written review as well. Fans who had not been that aware of the film (which was released to limited fanfare and ad space in the doldrums of the Spring 1987 release period) went to see it after Ebert's rave and soon widely agreed with him on its quality. (Source: IMDb)
1:35

On this day, 39 years ago, Richard Donner's "Lethal Weapon" (1987) was released in the USA & Canada. Roger Ebert played a huge role in the film's success. When he and Gene Siskel reviewed it on their TV show, Ebert raved about it, said the film "thrilled me from beginning to end" and said it was both a great action film and a well-written drama. He later gave it 4 stars in a written review as well. Fans who had not been that aware of the film (which was released to limited fanfare and ad space in the doldrums of the Spring 1987 release period) went to see it after Ebert's rave and soon widely agreed with him on its quality. (Source: IMDb)

DepressedBergman

81,990 Aufrufe • vor 4 Monaten

After "Supervixens" (1975) premiered at the Rotterdam Film Festival— where, according to Russ Meyer, Europeans were distressed by the film’s vi0lence —'Supervixens' had its official U.S. premiere in Dallas on April 2, 1975. The film was a smash hit, eventually earning $17 million worldwide on an investment of $221,000. Meyer certainly knew he had a hit after a college campus screening in Austin, Texas. He said, “When it was over, a hysterical woman ran up and told me I ought to have a stick of dynamite up my a$s. Any time I generate that much of a reaction I know I’m really doing something right.” According to Russ Meyer, the funniest response to the film came from Shari Eubank’s father, who— sitting next to his daughter—attended a showing packed with her friends and family in Milwaukee, Wisconsin, not far from Shari’s hometown. The unbelievable shot of Eubank completely n*de atop the mountain pinnacle appeared on the screen. “Mah God, Shari,” the father gasped. “Dad, I told you not to come,” shushed his daughter. The rest of the audience cracked up. ("Big B0s0ms & Square Jaws", Jimmy McDonough, 2005)
0:52

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After "Supervixens" (1975) premiered at the Rotterdam Film Festival— where, according to Russ Meyer, Europeans were distressed by the film’s vi0lence —'Supervixens' had its official U.S. premiere in Dallas on April 2, 1975. The film was a smash hit, eventually earning $17 million worldwide on an investment of $221,000. Meyer certainly knew he had a hit after a college campus screening in Austin, Texas. He said, “When it was over, a hysterical woman ran up and told me I ought to have a stick of dynamite up my a$s. Any time I generate that much of a reaction I know I’m really doing something right.” According to Russ Meyer, the funniest response to the film came from Shari Eubank’s father, who— sitting next to his daughter—attended a showing packed with her friends and family in Milwaukee, Wisconsin, not far from Shari’s hometown. The unbelievable shot of Eubank completely n*de atop the mountain pinnacle appeared on the screen. “Mah God, Shari,” the father gasped. “Dad, I told you not to come,” shushed his daughter. The rest of the audience cracked up. ("Big B0s0ms & Square Jaws", Jimmy McDonough, 2005)

DepressedBergman

526,197 Aufrufe • vor 3 Monaten

Tura Satana on Russ Meyer's love for b00bs & his feminist worldview: "He loved the big b00bs, and anybody he found that had b00bs bigger or better was there. But Russ always had this special respect for women. When we were on location, there were certain rules. I think I'm the only one who broke his rule about no sex on the set. I would say he was a feminist. He loved to make women look good. I have never seen any of the gals in his films look bad. And the men in his movies were always incapacitated in some way. They were either in a wheelchair or on crutches or short of a full deck. He liked to make women strong, make them feel that they were empowered. [He wanted to glorify women] And he always made sure there was a moral. The good always won out over evil. You will find that in any of his films." ("The Man Who Really, Really Loved Women", Chris Gore, 2004) Remembering Russ Meyer, on his 104th birthday! Clip from: Faster, Pussycat! Kill! Kill! (1965) Director: Russ Meyer
1:13

Tura Satana on Russ Meyer's love for b00bs & his feminist worldview: "He loved the big b00bs, and anybody he found that had b00bs bigger or better was there. But Russ always had this special respect for women. When we were on location, there were certain rules. I think I'm the only one who broke his rule about no sex on the set. I would say he was a feminist. He loved to make women look good. I have never seen any of the gals in his films look bad. And the men in his movies were always incapacitated in some way. They were either in a wheelchair or on crutches or short of a full deck. He liked to make women strong, make them feel that they were empowered. [He wanted to glorify women] And he always made sure there was a moral. The good always won out over evil. You will find that in any of his films." ("The Man Who Really, Really Loved Women", Chris Gore, 2004) Remembering Russ Meyer, on his 104th birthday! Clip from: Faster, Pussycat! Kill! Kill! (1965) Director: Russ Meyer

DepressedBergman

805,381 Aufrufe • vor 4 Monaten

Jane Campion explains why she had the character of Holly Hunter mute in 'The Piano' (1993): "Ebert: When you were writing the screenplay, how did you hit upon the notion that the central character would never speak? And why did her muteness seem to add to the story? Campion: You’d have to go back to the first intention I really had, which was to find a story that would work for me in talking about love. Since I’ve never really had an easy time with narrative, I was looking for a story which would give me some devices that I could use. I thought of the film working in a kind of gothic, romantic genre – which my spirit just loves. And when you’re trying to tell a romantic gothic story, you try to put situations in their most extreme form. So I thought, what if she doesn’t speak? She doesn’t speak and so the piano is going to be so important to her. She must have it in order to live. That would mean she’d do a lot more – she’d do anything to get it back. Whereas if she could speak and say, ‘That dirty old man over there,’ the whole story would be over. Ebert: So much of what she feels is so much better for not having to be said. Campion: That was the next challenge. Holly manages to capture Ada’s aloofness with no sense of the handicapped person. It’s the rest of the world that’s handicapped by speaking.” ("‘The Piano’ Plays On the Inner Voice", Roger Ebert, 2012)
2:30

Jane Campion explains why she had the character of Holly Hunter mute in 'The Piano' (1993): "Ebert: When you were writing the screenplay, how did you hit upon the notion that the central character would never speak? And why did her muteness seem to add to the story? Campion: You’d have to go back to the first intention I really had, which was to find a story that would work for me in talking about love. Since I’ve never really had an easy time with narrative, I was looking for a story which would give me some devices that I could use. I thought of the film working in a kind of gothic, romantic genre – which my spirit just loves. And when you’re trying to tell a romantic gothic story, you try to put situations in their most extreme form. So I thought, what if she doesn’t speak? She doesn’t speak and so the piano is going to be so important to her. She must have it in order to live. That would mean she’d do a lot more – she’d do anything to get it back. Whereas if she could speak and say, ‘That dirty old man over there,’ the whole story would be over. Ebert: So much of what she feels is so much better for not having to be said. Campion: That was the next challenge. Holly manages to capture Ada’s aloofness with no sense of the handicapped person. It’s the rest of the world that’s handicapped by speaking.” ("‘The Piano’ Plays On the Inner Voice", Roger Ebert, 2012)

DepressedBergman

156,869 Aufrufe • vor 7 Monaten

3 releases that will come from the GOONS!! Grab and pull/3step lock Stretch Strain I come from a tree that was started by one of the greatest receiver coaches ever URBAN MEYER(coach Meyer). Because of coach Meyer receiver coaching ability he became a legendary head coach without ever being a coordinator. He coached Billy Gonzales(coach G) in the 90s who also is a legendary receiver coach who coached me in 2005-2007 and is a father figure to me. His Receivers GA at UF was Zach Smith who played for coach G at bowling green and who later became the receivers coach at Ohio State His GA at Ohio State was none other than the legendary Ohio State receivers coach Brian Hartline. So when I say I love developing with fundamentals and techniques I’m not just talking because that’s what we do! ✊🏾🙏🏾❤️💯 who wants to be next to be developed??????? #SicEm Urban Meyer Michael Thomas Terry McLaurin Zach Smith Broc T
0:59

3 releases that will come from the GOONS!! Grab and pull/3step lock Stretch Strain I come from a tree that was started by one of the greatest receiver coaches ever URBAN MEYER(coach Meyer). Because of coach Meyer receiver coaching ability he became a legendary head coach without ever being a coordinator. He coached Billy Gonzales(coach G) in the 90s who also is a legendary receiver coach who coached me in 2005-2007 and is a father figure to me. His Receivers GA at UF was Zach Smith who played for coach G at bowling green and who later became the receivers coach at Ohio State His GA at Ohio State was none other than the legendary Ohio State receivers coach Brian Hartline. So when I say I love developing with fundamentals and techniques I’m not just talking because that’s what we do! ✊🏾🙏🏾❤️💯 who wants to be next to be developed??????? #SicEm Urban Meyer Michael Thomas Terry McLaurin Zach Smith Broc T

Dallas Baker

46,916 Aufrufe • vor 1 Jahr

Nicolas Cage on how he prepared for his role in "Leaving Las Vegas" (1995) & the movies he watched to get an idea of how to play an alcoholic: "Ebert: What did you know about drinking before you started shooting the movie, and what did you find out playing this character? Cage: I drink socially with my friends. Having a glass of wine at dinner is not a problem. It blew my mind that people who drink too much over long periods of time can actually develop hallucinations, go into delirium tremens. I tried to get my hands on videotape of this happening. I recall seeing heroin withdrawals on film but for some reason, it’s very difficult to get alcohol withdrawals on film and so I had to use my imagination of what that must feel like. I spoke to many drunks; I spoke with people who are running programs for this problem and what I could gather was, the stomach shrinks and contracts like a fist, and the alcohol’s like this injection that goes into the body and relaxes the stomach. So the performance really largely came from the stomach for me. And I watched four movies to get an idea of great alcoholic performances. I saw “The Lost Weekend” (1945) with Ray Milland, “Days of Wine and Roses” (1962) with Jack Lemmon, Dudley Moore in “Arthur” (1981) and Albert Finney in “Under the Volcano.” (1984) They were all great, but the Albert Finney one struck a chord of reality and I wondered, what about this is different? I asked Figgis – because he had worked with Finney – was he really drinking? And Mike called Finney, and he said, “No, I wasn’t. It would be impossible to do that because of the way the schedule is changing and you have to get there and show up for work, and it just wouldn’t be possible to take a gamble like that.” Ebert: Well, you couldn’t really control your acting if you were drinking. Cage: Right. That would be an example of Method acting going too far." ("Cage relishes operatic role in tragic `Leaving Las Vegas’", Roger Ebert, 2012)
1:25

Nicolas Cage on how he prepared for his role in "Leaving Las Vegas" (1995) & the movies he watched to get an idea of how to play an alcoholic: "Ebert: What did you know about drinking before you started shooting the movie, and what did you find out playing this character? Cage: I drink socially with my friends. Having a glass of wine at dinner is not a problem. It blew my mind that people who drink too much over long periods of time can actually develop hallucinations, go into delirium tremens. I tried to get my hands on videotape of this happening. I recall seeing heroin withdrawals on film but for some reason, it’s very difficult to get alcohol withdrawals on film and so I had to use my imagination of what that must feel like. I spoke to many drunks; I spoke with people who are running programs for this problem and what I could gather was, the stomach shrinks and contracts like a fist, and the alcohol’s like this injection that goes into the body and relaxes the stomach. So the performance really largely came from the stomach for me. And I watched four movies to get an idea of great alcoholic performances. I saw “The Lost Weekend” (1945) with Ray Milland, “Days of Wine and Roses” (1962) with Jack Lemmon, Dudley Moore in “Arthur” (1981) and Albert Finney in “Under the Volcano.” (1984) They were all great, but the Albert Finney one struck a chord of reality and I wondered, what about this is different? I asked Figgis – because he had worked with Finney – was he really drinking? And Mike called Finney, and he said, “No, I wasn’t. It would be impossible to do that because of the way the schedule is changing and you have to get there and show up for work, and it just wouldn’t be possible to take a gamble like that.” Ebert: Well, you couldn’t really control your acting if you were drinking. Cage: Right. That would be an example of Method acting going too far." ("Cage relishes operatic role in tragic `Leaving Las Vegas’", Roger Ebert, 2012)

DepressedBergman

62,944 Aufrufe • vor 4 Monaten

On this day, 95 years ago, Tod Browning's "Dracula" (1931) premiered in New York City, USA. "Lon Chaney had been scheduled to play the role, a wise casting decision after his success in the silent classics “The Hunchback of Notre Dame” and “The Phantom of the Opera.” But he died as “Dracula” was going into production, and the mysterious 49-year-old Hungarian, who starred in a 1927 Broadway production of “Dracula,” was cast. Legend must exaggerate, because the Hungarian emigre Lugosi had been living and working in the United States for a decade by the time the film was made, and yet there is something about his line readings that suggests a man who comes sideways to English–perhaps because in his lonely Transylvanian castle, Dracula has had centuries to study it but few opportunities to practice it." --- Roger Ebert ("Dracula", Roger Ebert, 1931)
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On this day, 95 years ago, Tod Browning's "Dracula" (1931) premiered in New York City, USA. "Lon Chaney had been scheduled to play the role, a wise casting decision after his success in the silent classics “The Hunchback of Notre Dame” and “The Phantom of the Opera.” But he died as “Dracula” was going into production, and the mysterious 49-year-old Hungarian, who starred in a 1927 Broadway production of “Dracula,” was cast. Legend must exaggerate, because the Hungarian emigre Lugosi had been living and working in the United States for a decade by the time the film was made, and yet there is something about his line readings that suggests a man who comes sideways to English–perhaps because in his lonely Transylvanian castle, Dracula has had centuries to study it but few opportunities to practice it." --- Roger Ebert ("Dracula", Roger Ebert, 1931)

DepressedBergman

21,214 Aufrufe • vor 5 Monaten

Roger Ebert on why “Entrapment” (1999) worked for him & the audience: "“Entrapment” (1999) is the very embodiment of a star vehicle: a movie with a preposterous plot, exotic locations, absurd action sequences, and so much chemistry between attractive actors that we don’t care. It stars Sean Connery and Catherine Zeta-Jones in a caper that reminded me of “To Catch a Thief” (1955), “Charade” (1963), “Topkapi”(1964) and the stunt sequences in Bond pictures. I didn’t believe a second of it, and I didn’t care that I didn’t. (...) It works because it is made stylishly, because Connery and Zeta-Jones are enormously attractive actors, and because of the romantic tension between them. I got a letter the other day complaining about the age differences between the male and female leads in several recent pictures–and, to be sure, Connery at 69 and Zeta-Jones at 29 remember different wars. But the movie cannily establishes ground rules (Mac lectures that thievery is a business that permits no personal relationships), and so instead of questioning why they’re erotically involved, we wish they would be." ("Entrapment", Roger Ebert, 1999) P.S: On this day, 27 years ago, "Entrapment" (1999) was released in the USA & Canada.
2:05

Roger Ebert on why “Entrapment” (1999) worked for him & the audience: "“Entrapment” (1999) is the very embodiment of a star vehicle: a movie with a preposterous plot, exotic locations, absurd action sequences, and so much chemistry between attractive actors that we don’t care. It stars Sean Connery and Catherine Zeta-Jones in a caper that reminded me of “To Catch a Thief” (1955), “Charade” (1963), “Topkapi”(1964) and the stunt sequences in Bond pictures. I didn’t believe a second of it, and I didn’t care that I didn’t. (...) It works because it is made stylishly, because Connery and Zeta-Jones are enormously attractive actors, and because of the romantic tension between them. I got a letter the other day complaining about the age differences between the male and female leads in several recent pictures–and, to be sure, Connery at 69 and Zeta-Jones at 29 remember different wars. But the movie cannily establishes ground rules (Mac lectures that thievery is a business that permits no personal relationships), and so instead of questioning why they’re erotically involved, we wish they would be." ("Entrapment", Roger Ebert, 1999) P.S: On this day, 27 years ago, "Entrapment" (1999) was released in the USA & Canada.

DepressedBergman

110,008 Aufrufe • vor 2 Monaten

On this day, 42 years ago, Hugh Wilson's "Police Academy" (1984) was released in the USA. Roger Ebert found the movie to be so bad that he gave the movie 0 stars. He wrote, "It’s really something. It’s so bad, maybe you should pool your money and draw straws and send one of the guys off to rent it so that in the future, whenever you think you’re sitting through a bad comedy, he could shake his head, and chuckle tolerantly, and explain that you don’t know what bad is. This is the kind of movie where they’ll bring a couple of characters onscreen and begin to set up a joke, and then, just when you realize you can predict exactly what’s going to happen … not only doesn’t it happen, but nothing happens — they just cut to some different characters! If there’s anything worse than a punch line that doesn’t work, it’s a movie that doesn’t even bother to put the punch lines in." Police Academy opened in the number 1 spot in 1,587 U.S. theaters on March 23, 1984, to a first weekend total gross of $8.6 million. The film went on to gross $81.2 million, becoming the 6th highest-grossing American film of 1984. (Quote from "Police Academy", Roger Ebert, 1984)
2:21

On this day, 42 years ago, Hugh Wilson's "Police Academy" (1984) was released in the USA. Roger Ebert found the movie to be so bad that he gave the movie 0 stars. He wrote, "It’s really something. It’s so bad, maybe you should pool your money and draw straws and send one of the guys off to rent it so that in the future, whenever you think you’re sitting through a bad comedy, he could shake his head, and chuckle tolerantly, and explain that you don’t know what bad is. This is the kind of movie where they’ll bring a couple of characters onscreen and begin to set up a joke, and then, just when you realize you can predict exactly what’s going to happen … not only doesn’t it happen, but nothing happens — they just cut to some different characters! If there’s anything worse than a punch line that doesn’t work, it’s a movie that doesn’t even bother to put the punch lines in." Police Academy opened in the number 1 spot in 1,587 U.S. theaters on March 23, 1984, to a first weekend total gross of $8.6 million. The film went on to gross $81.2 million, becoming the 6th highest-grossing American film of 1984. (Quote from "Police Academy", Roger Ebert, 1984)

DepressedBergman

84,605 Aufrufe • vor 4 Monaten

Roger Ebert on Louis Malle's "Damage" (1992): "Watching 'Damage' (1992) is like watching an emotional traffic accident as it unfolds. The film is based on the best seller by Josephine Hart, which had a certain undeniable power, but the right place for this material is the screen, I think, because it can show exactly how the two look at one another. This is a movie about sight; from the first moment the two meet, it is filled with what is seen and what is not seen, as Stephen [Jeremy Irons] suffers though a dinner party with his wife, his son, Anna [Juliette Binoche] and her mother – and some observe, and some do not, what has happened. (...) 'Damage' is one of those rare movies that is about s*xuality, not s*x; about the tension between people, not “relationships”; about how physical love is meaningless without a psychic engine behind it. Stephen and Anna are wrong to do what they do in 'Damage' but they cannot help themselves. We know they are careening toward disaster. We cannot look away." ("Damage", Roger Ebert, 1993)
1:47

Roger Ebert on Louis Malle's "Damage" (1992): "Watching 'Damage' (1992) is like watching an emotional traffic accident as it unfolds. The film is based on the best seller by Josephine Hart, which had a certain undeniable power, but the right place for this material is the screen, I think, because it can show exactly how the two look at one another. This is a movie about sight; from the first moment the two meet, it is filled with what is seen and what is not seen, as Stephen [Jeremy Irons] suffers though a dinner party with his wife, his son, Anna [Juliette Binoche] and her mother – and some observe, and some do not, what has happened. (...) 'Damage' is one of those rare movies that is about s*xuality, not s*x; about the tension between people, not “relationships”; about how physical love is meaningless without a psychic engine behind it. Stephen and Anna are wrong to do what they do in 'Damage' but they cannot help themselves. We know they are careening toward disaster. We cannot look away." ("Damage", Roger Ebert, 1993)

DepressedBergman

39,978 Aufrufe • vor 1 Monat

Roger Ebert on "The Friends of Eddie Coyle" (1973): "'The Friends of Eddie Coyle' (1973) is not a high-strung gangster film, it doesn’t have a lot of overt excitement in it, and it doesn’t go in for much violence. He gives us a man, invites our sympathy for him, and then watches almost sadly as his time runs out. And “The Friends of Eddie Coyle” works so well because Eddie is played by Robert Mitchum, and Mitchum has perhaps never been better. He has always been one of our best screen actors: sardonic, masculine, quick-witted, but slow to reveal himself. He has never been in an absolutely great film; he doesn’t have masterpieces behind him like Brando or Cary Grant. More than half his films have been conventional action melodramas, and it is a rare summer without at least one movie in which Mitchum wears a sombrero and lights bombs with his cigar. But give him a character and the room to develop it, and what he does is wonderful. Eddie Coyle is made for him: a weary middle-aged man, but tough and proud; a man who has been hurt too often in life not to respect pain; a man who will take chances to protect his own territory." ("The Friends of Eddie Coyle", Roger Ebert, 1973) P.S: On this day, 53 years ago, Peter Yates' "The Friends of Eddie Coyle" (1973) premiered in New York City, USA.
1:45

Roger Ebert on "The Friends of Eddie Coyle" (1973): "'The Friends of Eddie Coyle' (1973) is not a high-strung gangster film, it doesn’t have a lot of overt excitement in it, and it doesn’t go in for much violence. He gives us a man, invites our sympathy for him, and then watches almost sadly as his time runs out. And “The Friends of Eddie Coyle” works so well because Eddie is played by Robert Mitchum, and Mitchum has perhaps never been better. He has always been one of our best screen actors: sardonic, masculine, quick-witted, but slow to reveal himself. He has never been in an absolutely great film; he doesn’t have masterpieces behind him like Brando or Cary Grant. More than half his films have been conventional action melodramas, and it is a rare summer without at least one movie in which Mitchum wears a sombrero and lights bombs with his cigar. But give him a character and the room to develop it, and what he does is wonderful. Eddie Coyle is made for him: a weary middle-aged man, but tough and proud; a man who has been hurt too often in life not to respect pain; a man who will take chances to protect his own territory." ("The Friends of Eddie Coyle", Roger Ebert, 1973) P.S: On this day, 53 years ago, Peter Yates' "The Friends of Eddie Coyle" (1973) premiered in New York City, USA.

DepressedBergman

85,330 Aufrufe • vor 1 Monat

the camera being in a tight close up on both ilya and shane for the entirety of this scene, except for the moment when ilya is working up the courage to say he’s in love. it’s like for the whole conversation it’s just the two of them, there’s nobody else who matters, and then for a brief moment the shot widens as ilya considers the implications of the fact he’s in love with shane. the fact that the rest of the world DOES matter and will always be a presence in their relationship. we’ve been held in this moment between the two of them and by widening the shot, that intimacy is broken just for a second as we’re reminded that there is a world beyond the two of them and ilya is still in russia. what he’s doing is incredibly dangerous. then the camera tightens back into a close up as he realises he needs to say it anyway because all that matters is that he’s on the phone with shane and he’s in love with him. it really is just the two of them in this moment and he doesn’t want to let anyone else in.
3:26

the camera being in a tight close up on both ilya and shane for the entirety of this scene, except for the moment when ilya is working up the courage to say he’s in love. it’s like for the whole conversation it’s just the two of them, there’s nobody else who matters, and then for a brief moment the shot widens as ilya considers the implications of the fact he’s in love with shane. the fact that the rest of the world DOES matter and will always be a presence in their relationship. we’ve been held in this moment between the two of them and by widening the shot, that intimacy is broken just for a second as we’re reminded that there is a world beyond the two of them and ilya is still in russia. what he’s doing is incredibly dangerous. then the camera tightens back into a close up as he realises he needs to say it anyway because all that matters is that he’s on the phone with shane and he’s in love with him. it really is just the two of them in this moment and he doesn’t want to let anyone else in.

frances 🏒

293,756 Aufrufe • vor 7 Monaten

MPJ talks about Russ as a teammate and the stories that leaked out of the locker room last season “So Russ, here’s the thing, it would be hard for any player to go from being the MVP of the NBA to then taking on a role off bench. When he went to LA (LAL & LAC) he was disrespected crazy. When he came over with us, he came in with great energy, he really bought in to the system and cheering people on. The things that came out were normal things that happen within an 82 game season. It was strange. I looked up to Russ. Me and Russ have a good relationship”.
2:24

MPJ talks about Russ as a teammate and the stories that leaked out of the locker room last season “So Russ, here’s the thing, it would be hard for any player to go from being the MVP of the NBA to then taking on a role off bench. When he went to LA (LAL & LAC) he was disrespected crazy. When he came over with us, he came in with great energy, he really bought in to the system and cheering people on. The things that came out were normal things that happen within an 82 game season. It was strange. I looked up to Russ. Me and Russ have a good relationship”.

𝙀𝙧𝙖

1,071,893 Aufrufe • vor 10 Monaten

Although Howard Hawks is credited as the sole director of "Gentlemen Prefer Blondes" (1953), he did not direct any of the musical numbers. He wasn't even on the set when the scenes were filmed. Choreographer Jack Cole directed the scenes. Hawks later said, "I did a musical called 'Gentlemen Prefer Blondes', and I didn’t do the production numbers. I didn’t have any desire to. I did the little numbers that were part of the story. As a matter of fact, I had an agreement that I didn’t have to use the Fox music department to do it. We did a quiet little song that Marilyn sang, and stuff that Jane Russell and Marilyn did that are scenes with music in them; they didn’t need a lot of choreography or anything like that." ("Working with Complete Fantasy: On the Legacy of Gentlemen Prefer Blondes", Laura Boyes, Roger Ebert(dot)com, 2024 & "Hawks on Hawks", Joseph McBride, 1982) P.S: On this day, 73 years ago, "Gentlemen Prefer Blondes" (1953) premiered in Atlantic City, New Jersey, USA.
1:22

Although Howard Hawks is credited as the sole director of "Gentlemen Prefer Blondes" (1953), he did not direct any of the musical numbers. He wasn't even on the set when the scenes were filmed. Choreographer Jack Cole directed the scenes. Hawks later said, "I did a musical called 'Gentlemen Prefer Blondes', and I didn’t do the production numbers. I didn’t have any desire to. I did the little numbers that were part of the story. As a matter of fact, I had an agreement that I didn’t have to use the Fox music department to do it. We did a quiet little song that Marilyn sang, and stuff that Jane Russell and Marilyn did that are scenes with music in them; they didn’t need a lot of choreography or anything like that." ("Working with Complete Fantasy: On the Legacy of Gentlemen Prefer Blondes", Laura Boyes, Roger Ebert(dot)com, 2024 & "Hawks on Hawks", Joseph McBride, 1982) P.S: On this day, 73 years ago, "Gentlemen Prefer Blondes" (1953) premiered in Atlantic City, New Jersey, USA.

DepressedBergman

23,794 Aufrufe • vor 25 Tagen

chris greeley (global head of lolesports) on the day faker retires: “he (faker) transcends the sport right now. he’s sat down with the prime minister and the president of korea. the asian games are coming up in a couple of months. at the last asian games…faker had a super long line of conventional sport athletes waiting to take a picture with him. so i think that we're not prepared for faker to retire, and i don't know that we ever will be. he’s the michael jordan of esports right now…i hope decides to stay connected to the ecosystem—own a team, be a manager, a coach, a spokesperson. no one is eclipsing faker, and i don't know that anyone will for some time…” faker truly is carrying the whole lolesports on his back. i will always choose to support him for as long as he decides to play, i just hope that he stays healthy and happy throughout his career.
1:38

chris greeley (global head of lolesports) on the day faker retires: “he (faker) transcends the sport right now. he’s sat down with the prime minister and the president of korea. the asian games are coming up in a couple of months. at the last asian games…faker had a super long line of conventional sport athletes waiting to take a picture with him. so i think that we're not prepared for faker to retire, and i don't know that we ever will be. he’s the michael jordan of esports right now…i hope decides to stay connected to the ecosystem—own a team, be a manager, a coach, a spokesperson. no one is eclipsing faker, and i don't know that anyone will for some time…” faker truly is carrying the whole lolesports on his back. i will always choose to support him for as long as he decides to play, i just hope that he stays healthy and happy throughout his career.

ica 🐧

20,589 Aufrufe • vor 18 Tagen

Claude Chabrol on why he chose to reveal the murderers in his films early rather than keep it as a surprise: "Murder always heightens the interest in a film. Even a banal situation takes on importance when there’s a murder involved. I suppose that’s why I choose to work with murder so often. That’s the area of human activity where the choices are most crucial and have the greatest consequences. On the other hand, I’m not at all interested in who-done-its. If you conceal a character’s guilt, you imply that his guilt is the most important thing about him. I want the audience to know who the murderer is, so that we can consider his personality." (Claude Chabrol's interview with Roger Ebert, 1971) P.S: Remembering the great French Filmmaker Claude Chabrol on his 96th birthday! Clip from: Le Boucher (1970) Director: Claude Chabrol
1:39

Claude Chabrol on why he chose to reveal the murderers in his films early rather than keep it as a surprise: "Murder always heightens the interest in a film. Even a banal situation takes on importance when there’s a murder involved. I suppose that’s why I choose to work with murder so often. That’s the area of human activity where the choices are most crucial and have the greatest consequences. On the other hand, I’m not at all interested in who-done-its. If you conceal a character’s guilt, you imply that his guilt is the most important thing about him. I want the audience to know who the murderer is, so that we can consider his personality." (Claude Chabrol's interview with Roger Ebert, 1971) P.S: Remembering the great French Filmmaker Claude Chabrol on his 96th birthday! Clip from: Le Boucher (1970) Director: Claude Chabrol

DepressedBergman

21,253 Aufrufe • vor 1 Monat