Quotes About Critics

The worst advice? 'Don't listen to the critics.' I think that you really ought to listen to the critics, because sometimes they're telling you something is broken that you can fix.

The evolution of social media into a robust mechanism for social transformation is already visible. Despite many adamant critics who insist that tools like Facebook, Twitter, and YouTube are little more than faddish distractions useful only to exchange trivial information, these critics are being proven wrong time and again.

I have been attacked by media critics and just critics of my own for years. And that, unfortunately, is part of the job in 2016 America. I was used to that. And I've developed a thick skin.

Does he have a double standard for black critics as opposed to white critics?

Have you ever noticed how most critics disagree with the public? That should tell you a lot about critics.

Ron Paul warned everyone that the Patriot Act could be used against innocent American citizens. His critics said he was siding with terrorists. Now, either A. Ron Paul was right. Or B. All Verizon users are terrorists.

I haven't got a great jazz band and I don't want one. Some of the critics, Down Beat's among them, point their fingers at us and charge us with forsaking real jazz . . . It's all in what you define as 'real jazz.' It happens that to our ears harmony comes first. A dozen colored bands have a better beat than mine. Our band stresses harmony.

Critics ought never to be consulted, but while errors may yet be rectified or insipidity suppressed. But when the book has once been dismissed into the world, and can be no more retouched, I know not whether a very different conduct should not be prescribed, and whether firmness and spirit may not sometimes be of use to overpower arrogance and repel brutality.

Many critics see international trade as a form of cultural imperialism that must be strictly controlled.

Critics should stick to their convictions.

Rappers are emotional. Critics be reviewin me. But I got love for everybody even if you're suin me.

The cultural wars of the sixties are over. I've reconciled with those who were my critics and opponents years ago. I was at odds with some those who were Black nationalists. Yet when feminists attempted to end my career and leave me as literary road kill, it was the Black nationalists who came to my rescue.

These critics who crucify me do not guess the littlest part of my sincerity. They must be burned in a blaze. I cannot learn from them.

I understand that artists and critics make a big deal over the Grammys. But when I go to my shows and I'm selling out arenas in London, and when I'm in Australia and Japan, there aren't any Grammys there. There are human beings who I've touched. There are human beings who are inspired by me, who I love dearly. And that's what my career is based on.

My second play, The Birthday Party, I wrote in 1958 - or 1957. It was totally destroyed by the critics of the day, who called it an absolute load of rubbish.

There is probably no hell for authors in the next world - they suffer so much from critics and publishers in this.

Bloom never pissed me off because there are critics out there, and he's one of them, who take their ignorance about popular culture as a badge of intellectual prowess.

Computer and video games represent one of the most important new media developments of this generation. Unlike many other forms of entertainment they offer players the opportunity to explore, be creative, learn through interaction and express themselves to others. It is vitally important that we protect and nurture this new art form so that it can reach its full potential. Like most new forms of artistic expression that have come before (music, novels, movies), the primary critics of video games are the people that do not play them.

I haven't seen the show, but when it was finished I felt good about what we had done. I don't know how it will stack up with Survival, but that'll be up to the critics.

But the truth is that critics are by definition critical. That's their job.

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

America is a nation of believers, dreamers and strivers that is being led by a group of censors, critics, and cynics.

I knew that because of who I am, and the situation I'm in, that I'd attract more critics than your average person, and that was a little intimidating, but I wanted to get out there and pay my dues.

It's over. The franchise is dead. The press killed it. Your magazine f**king killed it. New York Magazine. It's like all the critics got together and said, 'This franchise must die.' Because they all had the exact same review. It's like they didn't see the movie. Got any more gum?

Criticism didn't really stop us and it shouldn't ever stop anyone, because critics are only the people who can't get a record deal themselves.

Critics are like ticks on a dog or tits on a motor: ornamental but dysfunctional.

My writing of fiction comes under a very general heading of those teachers, critics, scholars who like to try their own hand once or twice in their lives.

I don't have any special advice for America's women, except to know who you are and to put your priorities in order and to not worry about the naysayers and critics say.

Movies are hard work. The public doesn't see that. The critics don't see it. But they're a lot of work. A lot of work.

Critics? I love every bone in their heads.

The people who review my books, generally, are kind of youngish culture writers who aspire to write books. When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.

Critics don't buy records. They get 'em free.

I'm happy that people have loved my film and my work. I have always let my work do the talking, and I guess I have proved to my critics that I'm not over.

By and large, the critics and readers gave me an affirmed sense of my identity as a writer. You might know this within yourself, but to have it affirmed by others is of utmost importance. Writing is, after all, a form of communication.

So when my critics say that Sassy is only for alienated teenagers, I feel like responding, 'Well, isn't an unalienated teenager the biggest oxymoron?'

Having said that, people here [in Mecklenburg-Western Pomerania] watch the TV. And they hear critics of her policies talk about how more than a million people coming here last year from various war-torn countries and also seeking economic help are going to, like, destroy the fabric of the society.

Many critics have become de facto teachers. That is a lot of responsibility, and I think it should be wielded with care. Most people appreciate sincere guidance.

Music critics are, for the most part, bitter people who are intent at dragging people down for being successful at what they want to do, which is probably music. The oddity of being a critic is: You don't get a diploma, you just decide you're a critic. If someone listens to your opinion rather than their own, it's their mistake. Any critic's top 10, any year, it's something controversial or something that will make them look hipper-than-thou. The whole critic game, we've never played.

Some of the critics viewed Vietnam as a morality play in which the wicked must be punished before the final curtain and where any attempt to salvage self-respect from the outcome compounded the wrong. I viewed it as a genuine tragedy. No one had a monopoly on anguish.

The whole movie thing has never been a source of great pride for me, in that Burt Reynolds, who starred in the picture, butchered the original script I had written for the late Steve McQueen, and the result, while a massive moneymaker, was lashed by the critics. But like the old joke about Pierre the Bridge Builder, The Cannonball Run is indelibly inscribed on my so-called career portfolio, and few conversations with strangers pass without the subject of the picture arising.

Good Luck Chuck, a comedy starring Dane Cook and Jessica Alba, opened today, and critics are saying it has all the belly laughs you’ve come to expect from Jessica Alba.

I mean, the old film critics just excoriated me.

Aldous Huxley took the drug mescaline and then chronicled his experience in the book The Doors of Perception. Now, I don't actually think that's the first thing he wrote: he probably wrote 'my brain is melting' ten thousand times, but it was the book that the critics latched on to.

Advice to a new writer: There are no rules in this profession. Do what is good for you. Read books and watch films that stimulate your writing. In your writing, go where the pain is; go where the pleasure is; go where the excitement is. Believe in your own original approach, voice, characters, story. Ignore critics. Have nerve. Be stubborn.

I can't say what my greatest strength between acting and singing is...I'll leave that to the critics. Maybe my best strength is performance itself, being with the audience and feeling what they feel, bouncing off of them.

Let the critics criticize and let the doers do.

For critics, as they are birds of prey, have ever a natural inclination to carrion.

The interesting thing about that is one of the greatest critics of socialism and leftwing writings was Robert Michels who wrote a series of essays called "The Iron Law of Oligarchy" and in these essays he discusses how no matter what sorts of freedoms are advertised or put into a society structure, that all societies, all form of governments - whether they be a Roman republic, whether they be a democracy, whether they be a Russian communist system, whatever, a tribe... a tribal council - all of the continuously, throughout the ages, have all converted back into an oligarchy.