Socrates told us, "the unexamined life is not worth living." I think he's calling for curiosity, more than knowledge. In every human society at all times and at all levels, the curious are at the leading edge.
Roger EbertRead
You can have a movie with hardly any cuts, or very few cuts, that is fascinating, you can't take your eyes away from it... Look at some of the long takes in Citizen Kane.
Interpretation
What this quote means
Long takes in film can create a captivating experience for the audience.
In this quote, Roger Ebert emphasizes the power of long takes in cinema, suggesting that a film can maintain its audience's attention without rapid editing. He cites 'Citizen Kane' as an example, highlighting how the continuity of a single shot can enhance storytelling and engage viewers on a deeper level.
Themes
CinemaLong TakesFilmStorytellingFocus
In practice
Example use cases
During a film analysis class, a teacher could use this quote to illustrate the effect of camera technique.
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All quotes →Vincent Gallo has put a curse on my colon and a hex on my prostate. He called me a 'fat pig' in the New York Post and told the New York Observer I have 'the physique of a slave-trader.' He is angry at me because I said his 'The Brown Bunny' was the worst movie in the history of the Cannes Film Festival... _x000D_ it is true that I am fat, but one day I will be thin, and he will still be the director of 'The Brown Bunny.'
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I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me.
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Why do alcoholics begin down the same hazardous road day after day? They are in search of that elusive window of well-being that opens when you drink your way out of a hangover and aren't yet drunk all over again. The alcoholic's day consists of trying to keep that window open.
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There are no guarantees. But there is also nothing to fear. We come from oblivion when we are born. We return to oblivion when we die. The astonishing thing is this period of in-between.
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Parents and schools should place great emphasis on the idea that it is all right to be different. Racism and all the other 'isms' grow from primitive tribalism, the instinctive hostility against those of another tribe, race, religion, nationality, class or whatever. You are a lucky child if your parents taught you to accept diversity.
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All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.
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The details are details. They make the product. The connections, the connections, the connections. It will in the end be these details that give the product its life.
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My life, my reading, everything about me revolves around the cinema. So for me, cinema is life, and vice-versa.
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My subject matter was a genuine sort of experience that came out of my life, particularly the American world in which I was privileged to be . . . . I would really think of the bakery counters, of the way the counter was lit, where the pies were placed, but I wanted just a piece of the experience. From when I worked in restaurants . . . [it was] always poetic to me.
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I've always had great satisfaction out of writing the plays. I've not always had great satisfaction out of seeing them produced-although often I've had satisfaction there. When things go well in production, on opening there's no nicer feeling in the world-what could be nicer than watching an audience respond? You can't that from a book. It's a fine feeling to walk into the theater and see living people respond to something you've done.
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