Class is often invisible in America in the movies, and usually not the subject of the film.

Because we can engineer genetics, because we can telecast real lives-of course we must, right? But are these good things to do? The irony is, the people who will finally answer that question will be the very ones produced by the process.

In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.

I think we have to get beyond the idea that we have to categorize people.

Gene [Siskel] often mentioned something François Truffaut once told him: the most beautiful sight in a movie theater is to walk down to the front, turn around, and look at the light from the screen reflected on the upturned faces of the members of the audience.

What happens in a fantasy can be more involving than what happens in life, and thank goodness for that.

Most of us do not consciously look at movies.