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.

I read reviews of critics I respect and feel I can learn something from. Right now there are a lot of bottom-feeder critics who just have access to a computer and don't necessarily have an academic or cinema background that I can detect, so I tend to ignore that and stay with the same top-tier critics that I've come to respect. I like reading a good review - it doesn't have to be favorable, but a well-thought-out one - because I very much appreciate the relationship of directors and critics.

I'm not trying to brainwash my critics. If they're critics, they're critics, and that's their job to be critical, but I certainly enjoy the involvement I have with my fans. I enjoy the time I get to spend with them, and I don't waste time with someone stubborn who is not going to come around.

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

There are television critics, movie critics, and theater critics too who I like and who I follow and I get genuinely bummed when they don't like something that I've written because I usually agree with them.

I put all of my energy into building the game and giving women opportunities and, to put everything into it and then to be deemed selfish or not a good team player or outspoken, it's been hard. But at the same time, I'm going to get the critics and I know that.

I certainly want to be involved in politics and help shape the transition. I am in contact with regime critics who had to leave for the West. One of them is Mikhail Khodorkovsky, the former businessman, who had to endure 10 years in a prison camp.

No, writing musicals is the hardest thing in the world. And it was really funny, because I remember when the South Park movie came out, there were some critics that said, 'Well it's obvious that in order to get it to be 90 minutes they filled some time with music.'

Critics have told me I've ruined the lives of 50 million young people. I can't be certain of this, since only about 10 million have ever come back to thank me.

Critics haven't taught me my cricket, and they don't know what my body and mind are up to.

The Americans only like things they can label, even if it kills them. Think of those poor Latin American writers. Some of them are very good. But the "magical realism" label has absolutely ruined them. The critics are like tourists who return from a trip saying they've "done" Machu Picchu: "Okay, we've done magical realism," so now we can throw it out.

Music critics are part of the world, and I am part of the world.

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

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 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 I remember the morning after The Mask of Virtue-which is the first play I did at the West End-that some critics saw fit to be as foolish as to say that I was a great actress. And I thought, that was a foolish, wicked thing to say, because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry. And it took me years to learn enough to live up to what they said-for those first notices. I find it so stupid. I remember the critic very well, and have never forgiven him.

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.

Since I won't let the critics seal my fate, they keep hollering I'm full of hate. But they don't really hurt me none, 'cause I'm doing good and having fun.

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

I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.

There are good and bad critics like good or bad artists. A good critic says why they didn't like it. A bad critic gives it away that they don't like you as a person. I quite like that as well, because it means that I've won.

I think sometimes the critics want me to beat people down, and that's not in me. I want to lift people up.

Well, it's so cheesy to say but you can't find a comedy director who makes movies for critics. When a movie does $580 million worldwide, I'm not saying that proves anything except people were enjoying the experience.

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.

The vehemence with which certain critics have chosen not simply to criticize what I've written, but to challenge my writing this story at all, speaks of what the book is about: fear of disapproval.

Critics often point to historical issues such as slavery, upon which many Christians did act inconsistently, in an effort to invalidate Christian participation in contemporary social issues.

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.

The word 'art' is very slippery. It really has no importance in relation to one's work. I work for the pleasure, for the pleasure of the work, and everything else is a matter for the critics.

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.

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.

the Press has no band of critics who go the round of the churches and chapels, and are on the watch for a slip or defect in the preacher, to make a 'feature' in their article: the clergy are, practically, the most irresponsible of all talkers.

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.

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?'

Nobody who knows me has ever thought I was a racist, bigot, all of this stuff. All of a sudden I'm on the radio and I become one, if you listen to liberal critics. I'm a racist, sexist, bigot, homophobe. I'm a hater and all of this stuff. I'm none of those things and never have been. It's all because of my political views.

Every time I make a picture the critics' estimate of American public taste goes down ten percent.

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.

It's interesting to think that my children know more about the process than many mature critics.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

Don't give up. Don't listen to these foolish critics that are so small minded they don't get it tonight.

Exceptional thinkers ignore their critics and go about their business making history.

I don't pay no attention to what critics say about me, the good or the bad. The toughest critic I got is myself...and I'm too vain to play anything I think is bad.

When authors and critics talk of the sublime, they see not how nearly it borders on the ridiculous.

Raising children who are hopeful and who have the courage to be vulnerable means stepping back and letting them experience disappointment, deal with conflict, learn how to assert themselves, and have the opportunity to fail. If we’re always following our children into the arena, hushing the critics, and assuring their victory, they’ll never learn that they have the ability to dare greatly on their own.

To straddle the middle ground and win elections, we have to be in charge of the political agenda. This can only be done by not being beaten in the argument with our critics. They complain that I come down too hard on their arguments. But wrong ideas have to be challenged before they influence public opinion and make for problems. Those who try to be clever at the expense of the government should not complain if my replies are as sharp as their criticisms.

If you beat someone with a good name, of course some people are going to say he's past his prime, he's washed up, or he shouldn't be fighting. You're always going to have critics. It doesn't matter what the outcome is, whether it be good or whether it be bad.

Nudity in photography, whether involving adults or children, is a subject sinking under a freight of political and moral disapproval it could never hope to support, and this is not the place for me to get out the bilge pump. I will only say that critics who tremble so fiercely at the thought of the voyeuristic male gaze miss the point that distance generates mystery and enchantment, and expresses the awe with which the male imagination regards all women.

The "prophets" were what we would call dissident intellectuals. They provided critical geopolitical analysis, condemned the crimes of the powerful, called for justice and mercy for those who needed help, etc. I wouldn't personally endorse everything they said, any more than I would for critics of power and its crimes today. But rather generally I think they played an honorable role - and suffered accordingly.