A Quote by Roger Ebert

Class is often invisible in America in the movies, and usually not the subject of the film. — © Roger Ebert
Class is often invisible in America in the movies, and usually not the subject of the film.
A filmmaker should never assume he's superior to his subject. I often find that even the simplest topic remains an enigma. The best film portraits not only evoke that enigma but ingest it in a process that renders what's invisible visible.
Class is the most taboo subject in America. The American media would rather talk about race or perversion or anything else considered taboo before class.
In the America that I grew up in, men of Asia placed last in the hierarchy of manhood. They were invisible in the high-testosterone arenas of politics, big business, and sports. On television and in the movies, they were worse than invisible. They were embarrassing. We were embarrassing.
The reason that the invisible hand often seems invisible is that it is often not there.
When I teach a class I often give the assignment: Photograph someone you love. I ask people to do this so they have a subject about whom they have feelings, a subject that is more than a model, or an object, or a shape, or an idea. In this way, they can judge the result not only by its technical success, but also by how well it describes their feelings.
The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.
In horror, character development is often pushed aside in favor of the shock value. The best genre movies to me are movies like The Shining. You had a connection to the characters in that film.
I'm often asked, 'What was, for you, your greatest film experience?' And it always comes back to 'One Flew Over the Cuckoo's Nest,' aside from being a film that really handled subject matter in such a brilliant, brilliant way.
The master class has always declared the wars; the subject class has always fought the battles. The master class had all to gain and nothing to lose, while the subject class has had nothing to gain and all to lose - especially their lives.
There should be a class on drugs. There should be a class on sex education-a real sex education class-not just pictures and diaphragms and 'un-logical' terms and things like that.....there should be a class on scams, there should be a class on religious cults, there should be a class on police brutality, there should be a class on apartheid, there should be a class on racism in America, there should be a class on why people are hungry, but there are not, there are classes on gym, physical education, let's learn volleyball.
I love movies and I love to watch movies and being a part of the whole film experience. Being a filmgoer is a unique experience, and it can affect you on so many levels. But being an actor in movies you often have a very narrow palette for expressing yourself.
INVISIBLE BOY And here we see the invisible boy In his lovely invisible house, Feeding a piece of invisible cheese To a little invisible mouse. Oh, what a beautiful picture to see! Will you draw an invisible picture for me?
When I was a kid and going to the movies I was overwhelmed by the way women were always second-class citizens in the film.
They talk about class warfare -- the fact of the matter is there has been class warfare for the last thirty years. It's a handful of billionaires taking on the entire middle-class and working-class of this country. And the result is you now have in America the most unequal distribution of wealth and income of any major country on Earth and the worst inequality in America since 1928. How could anybody defend the top 400 richest people in this country owning more wealth than the bottom half of America, 150 million people?
When you're doing a film and the majority of the film is cast black, for me, it's most important to get people to view those movies as just movies, as just good movies. At the end of the day, regardless of the color of the cast, we're all doing the same thing in this business: trying to make a good film.
In the case of 'The Lovely Bones,' I felt that it was subject matter not often dealt with in film, and with a tone that is also rare.
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