Quotes About Critics

I would have been a lot more nervous if I would had known that Matthew McConaughey was [on 30th Annual Television Critics Association Awards] and Julia Louis-Dreyfus was there and all that, and I was like, "Wait a minute and Bryan Cranston's here..." I think I would have got more nervous. But I think thinking it was just like, "Oh yeah critics, we're good." It was great.

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.

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

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.

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.

Romanticism has never been properly judged. Who was there to judge it? The critics!

Would it be nice to win a film award one day? Yes. But the critics are going to have to wait till I'm ready. Right now, my gift is making big movies that audiences want to see.

Critics like to build you up, tear you down, and then, if you're lucky, build you up again.

People who refuse to step out and be used by God become the critics of those who do. Risk takers, the ones who thrill the heart of God, become the targets of those who never fail because they seldom try.

I think it is the responsibility of critics to rely less strenuously on, to use a Hollywood phrase, "what they can live with," and more on an examination of the works of art from an aesthetic and clinical point of view.

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.

Pedants make a great rout about criticism, as if it were a science of great depth, and required much pains and knowledge--criticism however is only the result of good sense, taste and judgment--three qualities that indeed seldom are found together, and extremely seldom in a pedant, which most critics are.

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.

Last year I gave several lectures on "Intelligence and Musicality among Animals" ... Today I am going to speak to you about "Intelligence and Musicality among Critics" ... The subject is much the same, with some modifications, of course.

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.

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.

Your destiny is not determined by your critics. Focus on running your own race.

American critics of welfare statism are often surprised to learn that countries like West Germany, with a much more comprehensive welfare state and a statistically larger public sector, have fewer government employees per capita than the United States does.

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.

As far as I'm concerned, the 20th century was performance-driven, but for some reason, the critics and historians didn't know how to integrate that.

I know that a ridiculous number of classic serials have been commissioned, and that reviews show a reaction against them. The critics seem fed up.

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?

And so with Hemingway's writing, he famously wrote to one of his publishers - he said, you don't need a high school education to enjoy my writing. And it's going to titillate the masses. I mean, anybody can relate to it, but the style is so revolutionary that it will titillate highbrow critics, which it did.

I don't write for publishers, certainly not for critics, and not for readers, But I am delighted that so many people have found my books enjoyable and want to continue to read them.

Money drives the world, but when everything falls apart to leave the underpinnings of our life bare to the scrutiny of critics and thieves, the only thing remaining, the only thing that can't be taken away, is the love you hold for the people you care about.

My job is to notice echoes and notice resonances. Scientists are not supposed to do the same thing that cultural critics do.

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

Dear, damned, distracting town, farewell! Thy fools no more I'll tease: This year in peace, ye critics, dwell, Ye harlots, sleep at ease!

Honey, I am the chief of my train. If critics want to hop on board, fantastic. There's plenty of room. The KP train is fun.

New York critics - I hear when one of them watched "A Star Is Born", he talked back to the screen.

Younger teachers are definitely more likely to have worked at charter schools as opposed to have just heard of them. Charter schools explicitly look, often, to hire younger people. I've even talked to people who didn't necessarily go into teaching thinking they wanted to work at a charter school or even may have been considered critics of the charter school movement, and found that it was the only way for them to get their foot in the door. So young people just have much more familiarity with the concept.

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.

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.

I have prided myself with striving for objectivity, something many literary-minded critics dismiss as impossible. But in Washington, reporters are practically the only people who actually spend time talking to Republicans and Democrats, conservatives and liberals, and I find the longer I report in Washington, the mushier and less conclusive my own views are. I like it that way.

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.

As many critics have pointed, out, terrorism is not an enemy. It is a tactic. Because the United States itself has a long record of supporting terrorists and using terrorist tactics, the slogans of today's war on terrorism merely makes the United States look hypocritical to the rest of the world.

every secret of a writer's soul, every experience of his life, every quality of his mind is written large in his works, yet we require critics to explain the one and biographers to expound the other. That time hangs heavy on people's hands is the only explanation of the monstrous growth.

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.

Malcolm's X objective was actually to reingratiate himself within the Nation of Islam, that because he had emerged by the early 1960s as a very prominent figure outside of the N.O.I., there were critics within the organization that were saying to the patriarch of the N.O.I., the Honorable Elijah Mohammad, that Malcolm planned to take over the organization, which was not true.

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.

I can't hear the critics talking over the applause.

Cats, as a class, have never completely got over the snootiness caused by the fact that in ancient Egypt they were worshipped as gods. This makes them prone to set themselves up as critics and censors of the frail and erring human beings whose lot they share.

We read critics for the perceptions, for what they tell us that we didn't fully grasp when we saw the work. The judgments we can usually make for ourselves.

Liberals cling to the idea that critics of welfare are motivated by greed or callous disregard for the less fortunate. In fact, during the twenty-five years that followed Lyndon Johnson's declaration of war on poverty, U.S. tax payers spent $3 trillion providing every conceivable support for the poor, the elderly, and the infirm. Private foundations spent scores of billions more, and private and religious charities even more. Nevertheless, as Ronald Raegan later quipped, 'in the war on poverty, poverty won.'

The Brazilian national identity is not one of João Gilberto Noll primary concerns. This does not mean social critique is absent: race, gender, and class relations are considered in Quiet Creature. And these are universal relational matters, not necessarily particular to any country. Some critics have commented that understanding the specific Brazilian political context of the novel is helpful for reading Quiet Creature. This may be true, but it's not prerequisite for understanding it.

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

These critics with the illusions they've created about artists - it's like idol worship. They only like people when they're on their way up... I cannot be on the way up again.