Quotes About Critics

Insofar as we, critics of the black tradition, master our craft, we serve both to preserve our own traditions and to shape their direction. All great writers demand great critics.

I am aware that many critics consider the conditions in the stars not sufficiently extreme . . . the stars are not hot enough. The critics lay themselves open to an obvious retort: we tell them to go and find a hotter place.

When you invent something, there will always be people to criticise. God's creation is full of critics, but has God given up His creation because of the critics?

I've been pretty well treated by the critics, but the critics who didn't like my comedies hated them with an unbridled passion, and then I would see these same people writing very respectfully about ordinary naturalistic plays.

Well, I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves. Judgment is very easy, but I think, on the whole, professional critics maybe see too much, and compare too much, and forget the joy of actually looking and contemplating for its own sake.

My criticism hasn't necessarily been informed by the critics I've read. The conversations I've had with friends and fellow musicians have shaped my thinking more than the work of any critic.

Cultivate everything the critics hated in your first work - that's what makes you unique.

I have learned not to read reviews. Period. And I hate reviewers. All of them, or at least all but two or three. Life is much simpler ignoring reviews and the nasty people who write them. Critics should find meaningful work.

Most men I know adore women, and I am including gay men. I think studies on jury selection show that the biggest critics of women - people less likely to trust their character or judgment - are women.

Mann is widely recognized as a master of irony and ambiguity, yet it's remarkable how quickly people foreclose options he carefully leaves open. Lots of readers - including eminent critics - jump to conclusions: that Nietzsche's Birth of Tragedy is a central background text, that Aschenbach is an inferior writer, that he's never been attracted by pubescent male beauty before, that he dies of cholera.

I've never had an easy relationship with critics. I hold a lot of homicide in my heart. If this was another time, I'd be packing a piece.

You know what the critics are. If you tell the truth they only say you're cynical and it does an author no good to get a reputation for cynicism.

Don't spend all your time trying to win over your critics. Just run your own race.

Our loyalty lies with little taxpayers, not big spenders. What our critics really believe is that those in Washington know better how to spend your money than you, the people, do. But we're not going to let them do it, period.

I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.

Critics in New York are made by their dislikes, not by their enthusiasms.

I love to go to the movies with people, but a lot of the time it's me in a room with a bunch of other movie critics, which is fine.

Some critics are stimulating in that they make you realise how you could do better, and those are valued.

Authors are partial to their wit, 'tis true, But are not critics to their judgment, too?

If critics and competitors can't match your results, they will often denigrate the way you achieve them. Fast, intuitive types are called lazy. Dedicated burners of the midnight oil are called obsessed. And while it's obviously not a bad idea to hear and consider the opinions of others, you should be suspicious when these criticisms emerge right on the heels of success.

Stephen King writes mass fiction but gets reviewed by the New York Times and writes for the New Yorker. Critics say to me, "Shut up and enjoy your money," and I think, OK, I'll shut up and enjoy my money, but why does Stephen King get to enjoy his money and get reviewed on the cover of the New York Times Sunday Book Review?

I really like when critics reveal their subjectivity and their humanity. I prefer it when people say nice things, but if they say not-nice things or things that are critical, I'm open to it and I accept it. I mean, I have to live with it. But I do think there's a dishonesty in not acknowledging that you're a person with an opinion. I think it's almost like a power grab.

The critics don't interest me because they're concerned with what's past and done, while I'm concerned with what comes next.

The stones that critics hurl with harsh intent, a man may use to build his monument.

What critics might call eclectic, and Eastern folks quirky, we Southerners call cussedness-and it's the cornerstone of the American genius. As in: 'There's a right way, a wrong way, and my way.' You want to see how that looks on the page, pick up any of Craig McDonald's novels. He's built him a nice little shack out there way off all the reg'lar roads, and he's brewing some fine, heady stuff. Leave your money under the rock and come back in an hour.

Cynics and critics wake us up. Kindness often covers up the truth and allows us to sleep on in our ignorance.

Some critics have written that I wanted to teach through singing. Not at all. I was learning I went to school every time I gave a song recital.

I'm a people's actor, not a critics' actor, and I always have been.

Critics of Consequentialism have often assumed that hedonism (or preference-satisfaction) must be the theory of the good, that the deontic principle must be maximizing, and that the principle should be applied to individual acts. Indeed, this version is often called "classical utilitarianism" and attributed to Bentham and sometimes even to Mill. Rather than a "classical" view it is a recent construction foisted on to the tradition.

I have always noticed that when people consider others eccentric, it is because they are reveling in some form of enjoyment that their critics can neither compass nor share.

If I miss one day of practice, I notice it. If I miss two days, the critics notice it. If I miss three days, the audience notices it.

It used to worry me what people said about me. I'm learning not to worry as much. Sometimes you feel critics are wrong all the time, but I don 't take objection to it, because that's the way it goes. They can be wrong, they can be right. They can be cruel, they can be kind.

I used to respond to people who are dismissive of my work, but as I grow older, I think it's best to ignore your critics. For one thing, they can't stand it, and secondly, you're never going to change them.

I have a work presently in the Press named 'Six Months in Hell' which you may one day read. I consider it will be worth perusing, bruising badly the morals of Britain and America, while Royalty, clergy, critics, society and bloodhounds of law must all incur its censure.

I thought it would fit a niche. I didn't anticipate, nor do I think anybody did, that it would become this global phenomenon, the way that it has. The critics have been so kind and favorable, it has really garnered such wonderful praise, and the numbers have been through the roof. It's actually been quite surreal. I'm still pinching myself because it's amazing. For me, we went to Atlanta and we spent our summer shooting this little zombie show, and it was ours. It was our sweet little zombie show [The Walking Dead], and the world has embraced us.

Every one of my opponents, every one of my critics, will tell you that I am a generalist spread far too thin in an age when this is not done anymore, when responsible knowledge is specialized knowledge.

I get out my work and have a show for myself before I have it publicly. I make up my own mind about it-how good or bad or indifferent it is. After that, the critics can write what they please. I have already settled it for myself so flattery and criticism go down the same drain and I am quite free.

Of course there are critics who believe that no matter what we do, the Florida dream is over. They claim that we must accept the idea that inevitably our future is one of high taxes and big government.

For me, the existentialists are important critics of 'absolutist' claims, and Heidegger and Merleau-Ponty are, at least in their later writings, also exponents of a doctrine of mystery: Being or the 'well-spring' of everything is, for Heidegger, ineffable, just as what Merleau-Ponty called 'Flesh' is for him.

It would be so much better if the critics would come, not on first nights, but on last nights, when they could exercise their undoubted flair for funeral orations.

To me, a critic is someone who gets paid for their opinion, and they're entitled to that opinion but I don't really put a lot of stock into their opinion. I'm going to cut the kind of records and the kind of songs that I like, and the kind of things that I enjoy doing. If critics dig it, that's fine, if they don't, that's fine.

I don't believe that anyone is not bothered by critics. I think that everybody cares.

When you do something that you know is authentic - embrace it, run with it, and trust yourself before the critics.

When I was a younger man, art was a lonely thing. No galleries, no collectors, no critics, no money. Yet, it was a golden age, for we all had nothing to lose and a vision to gain. Today it is not quite the same. It is a time of tons of verbiage, activity, consumption. Which condition is better for the world at large I shall not venture to discuss. But I do know, that many of those who are driven to this life are desperately searching for those pockets of silence where we can root and grow. We must all hope we find them.

So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards - well, you have no control over that.

I think if you think of yourself as religious and if you're given a gift, some may not think it's that great a gift - some critics. But others might, you know. So you say, look - whether it's good, bad or indifferent, this is what I do.

No matter what you do next, the world needs your energy, your passion, your impatience for progress. Don't shrink from risk. And tune out those critics and cynics. History rarely yields to one person, but think, and never forget, what happens when it does. That can be you. That should be you. That must be you.

Apropos, is not the Scotch phrase 'Auld Lang Syne' exceedingly expressive? I shall give you the verses on the other sheet. The words of 'Auld Lang Syne' are good, but the music is an old air, the rudiments of the modern tune of that name. ... Dare to be honest and fear no labor. ... Opera is where a man gets stabbed in the back, and instead of dying, he sings. ... Chords that vibrate sweetest pleasure thrill the deepest notes of woe. ... Critics! Those cut-throat bandits in the paths of fame.