“If we make any kind of decent, useful life for ourselves we have less need to run from it to those diminishing pleasures of the movies. When we go to the movies we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do. If life at home is more interesting, why go to the movies? And the theatres frequented by true moviegoers — those perennial displaced persons in each city, the loners and the losers — depress us. Listening to them — and they are often more audible than the sound track — as they cheer the cons and jeer the cops, we may still share their disaffection, but it’s not enough to keep us interested in cops and robbers. A little nose-thumbing isn’t enough. If we’ve grown up at the movies we know that good work is continuous not with the academic, respectable tradition but with the glimpses of something good in trash, but we want the subversive gesture carried to the domain of discovery. Trash has given us an appetite for art.”

— Pauline Kael , book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

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Pauline Kael 72

American film critic 1919–2001

Anthony C. Ferrante American film director

Interview: ‘Sharknado: The 4th Awakens’ Director Anthony C. Ferrante on ‘Star Wars’ Gags and the Next ‘Sharknado’ Sequel http://www.slashfilm.com/sharknado-director-interview/ (July 29th, 2016)

“People want to see it because although it’s not a pretty scene that the movie is reflecting; it still is the reality that we live in, and it just portrays and exemplifies the life that we live in as it is. Nothing more, nothing less.”

Park So-dam (1991) South Korean actress

On why Parasite has been a tremendous success in South Korea in "PARASITE Interview: Park So-dam on Failure, Family, and "Appa" Song Kang-ho" in Screen Anarchy (21 October 2019) https://screenanarchy.com/2019/10/parasite-interview-park-so-dam-on-bong-joon-ho-and-song-kang-ho.html

“The way we work, the way we talk, the way we watch television or walk down the street, even the way we fuck, or maybe that especially—each of those is part of the problem of identity. We can’t do any of those things authentically until we find out who we really are and be that person, inside and out, instead of the person other people want us to be. Usually those other people, if they want us to be something we aren’t, are using us as a laboratory for working out their own identity problems.”

Thomas M. Disch (1940–2008) Novelist, short story writer, poet

Emancipation: A Romance of the Times to Come (1971)

“Shouldn't we stand back to back or something?" "What? Why?" "I don't know. In movies that's what they do in this kind of… situation.”

Cassandra Clare book City of Bones

Source: City of Bones

“I have to be honest with you. Comedy is what I want to see at the movies these days. Life is frickin' hard, man. I want to go to the movies and see people happy and enjoying themselves and having some fun. I've made other kinds of movies, for sure. But it's pretty apparent to me that's what people want. That's what I want. I enjoy those kinds of movies.”

Reese Witherspoon (1976) American film actress and producer

Interview for Vogue magazine, November 2008.

“Minority Report reminds us why we go to the movies in the first place.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/minority-report-2002 of Minority Report (21 June 2002)
Reviews, Four star reviews
Context: American movies are in the midst of a transition period. Some directors place their trust in technology. Spielberg, who is a master of technology, trusts only story and character, and then uses everything else as a workman uses his tools. He makes Minority Report with the new technology; other directors seem to be trying to make their movies from it. This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill. Minority Report reminds us why we go to the movies in the first place.