Quotes About Critics

When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.

Critics kind never mind! Critics flatter no matter! Critics blame all the same! Do your best damn the rest!

The closeness [of Rex Tillerson] to [Vladimir] Putin will be one of the unifying issues between the Republican critics and Democratic critics.

I am relatively familiar with getting a good old rumping from the critics. In some cases, the critics just didn't like the film - fair cop. Others, I think, didn't understand it.

To the scientists of the Renaissance, your critic was really your ally, helping you advance upon reality. Critics in science are not like drama critics, determining flops and successes. Criticism to scientists is just another means of finding out whether they're wrong, like running another experiment to see if it confirms or refutes a theory. Along with the advocacy principle of the courtroom, It is one of the best ways human beings have evolved to get closer to the truth.

If film critics could destroy a movie, Michael Bay and Adam Sandler would be working at Starbucks. If film critics could make a movie a hit, the Dardenne brothers would be courted by every studio in town.

Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.

As for critics, one mediocre writer is more valuable than ten good critics. They are like haughty, barren spinsters lodged in a maternity ward.

I think as you get older, you realize there's always going to be critics. Critics are going to win every time because they can change their critique based on the stats and their own personal feelings.

Critics are to authors what dogs are to lamp-posts.

The more we refuse to buy into our inner critics - and our external ones too - the easier it will get to have confidence in our choices, and to feel comfortable with who we are.

If you accept all the praise, you have to accept all the critics.

For some reason most critics have a hard time fixing their minds directly under their noses, and before they see the object that is there they use a telescope upon the horizon to see where it came from.

What shall I say about poetry? What shall I say about those clouds, or about the sky? Look; look at them; look at it! And nothing more. Don't you understand anything about poetry? Leave that to the critics and the professors. For neither you, nor I, nor any poet knows what poetry is.

What critics call dirty in our pictures, they call lusty in foreign films.

As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.

Well, they are critics of the Bush administration generally on the human rights record of the administration, and in particular, they are very, very critical of this use of science.

When it comes to sitting down and composing, there is no hesitation, no concern, no critics breathing fire down my neck. For me, writing a song is the purest part of all. No one can mess with that.

I attempt to write a good novel. Whether it is literature or not is something that will be decided by the ages, not by me and not by a pack of critics around the globe.

I have stopped smoking now and then, for a few months at a time, but it was not on principle, it was only to show off; it was to pulverize those critics who said I was a slave to my habits and couldn't break my bonds.

Audiences and, to a large extent, critics who want less from theater than it is possible for it to give. If everybody's encouraged to want less, you'll end up with less.

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

Critics say that America is a lie because its reality falls so far short of its ideals. They are wrong. America is not a lie; it is a disappointment. But it can be a disappointment only because it is also a hope.

Trump is what Obama critics think Obama is: Someone who's focused on symbolism rather than substance.

Getting the economy back on its feet is properly viewed as an investment in future prosperity. When businesses and consumers confront attractive investment opportunities, often the only way to seize them is by borrowing. The same is true for government. Contrary to the pronouncements of critics of economic stimulus, these investments will not impoverish our grandchildren. Continuing to allow the economy to languish in recession is the surest way to impoverish them.

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

If a faultless poem could be produced, I am satisfied it would tire the critics themselves; and annoy the whole reading world with the spleen.

It's [Into the Badlands] something that's very, very different and I think that's why it divided critics initially because they didn't understand it or get it. They didn't understand or have a knowledge of what we were trying to do. Bringing in the Asian martial arts aesthetic to American television. For us, these are the people who will make the show a hit or a failure in future seasons. So it's for us to respect them and interact and see what they have to say.

To those critics who see capitalism as a system of inegalitarian, oppressive structures, its defenders have vaunted its ability to recognize and encourage what they call individual merit and asserted not only the desirability but also the inevitability of differential reward, of earned privilege, so to speak.

Corporate irony not only ridicules the thing it is selling but the very act of selling it. In the process it disarms critics by making anyone who goes against the flow of commerce seem clueless.

I've encountered a lot of people who sound like critics but very few who have substantive criticisms. There is a lot of skepticism, but it seems to be more a matter of inertia than it is of people having some real reason for thinking something else.

I have heard the critics. What they are spewing are lies, nothing more. My defense policy calls for an efficient and strong military for our country. We live in dangerous times, but we must remember that we have to defend the United States against dangerous and modern threats. The Cold War is ending. Defense hawks like Senator Nunn need to understand this.

What most forms of Consequentialism cannot do is require us to act in such a way as to make the world worse, yet many of the objections to Consequentialism purport to show that Consequentialism requires us to make the world a stinking, bloody mess. The ubiquity of these kinds of arguments shows you just how unseriously many of the critics take Consequentialism.

I think it is important to do what you believe in and ignore the critics.

There's always been what I would call the William Carlos Williams strain, in which poems of simplicity and clarity are valued by a different community. I was talking to Galway Kinnell one day, and he said that there was an audience for poetry up until about 1920 and then, from that point on, the poets and the critics drifted.

Some Critics on the Hearth are not only good-natured, but have rather too high, or, if that is impossible, let us say too pronounced, an opinion of the abilities of their literary friends.

This is a landmark work in the history of African American studies and American intellectual history. Writing with verve, Jackson brings to life a large cast of characters and traces an ongoing conversation among the writers and critics of this period. This book is likely to become a model for a new generation of scholars, both for the breadth of its engagement and the depth of its archival research.

You're happy that people are seeing your work. As for the critics, it really hurts when they knock you.

I've written some poems that are in the middle ground - who are in between very challenging and abundantly clear, but there's a tremendous investment in the challenging poem, and it's been going on so long that the whole infrastructure supporting it, a lot of critics and theorists and so on are deeply invested in maintaining that status.

I learned that lesson a long time ago. When you write popular fiction, you're going to get bashed by critics.

I have always sought to be understood and, while I was taken to task by critics or colleagues, I thought they were right, assuming I had not been clear enough to be understood. This assumption allowed me to work my whole life without hatred and even without bitterness toward criticism, regardless of its source. I counted solely on the clarity of expression of my work to gain my ends. Hatred, rancor, and the spirit of vengeance are useless baggage to the artist. His road is difficult enough for him to cleanse his soul of everything which could make it more so.

It is a shame to see in the work of an artist the limitations of his critics.

Critics of Donald Trump take him literally, but not seriously. His supporters take him seriously, but not literally.

Somehow I wasn't completely crucified by the critics. I don't know how or why, I probably should've been.

Publishers, theatrical managers, and critics ask not for the quality inherent in creative art, but will it meet with a good sale, will it suit the palate of the people? Alas, this palate is like a dumping ground; it relishes anything that needs no mental mastication. As a result, the mediocre, the ordinary, the commonplace represents the chief literary output.

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.

More and more in the art world are becoming moralistic, telling artists and critics what they should and shouldn't write, do, or make art about. Never mind the intellectual hypocrisy of this: Those who violate the clublike code are made out to be wrong, immoral, corrupt.