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.

When critics ask you if you feel vindicated by other critics - I didn't like critics then, and I don't like them now. There you go. I've always been outside the mainstream, and it stayed that way.

The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.

I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.

Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.

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?

Over and over again did the Attorney-General cry out aloud, in the agony of his cause, 'What is to become of painting if the critics withhold their lash?

Toni Morrison said, "The function of freedom is to free someone else," and if you are no longer wracked or in bondage to a person or a way of life, tell your story. Risk freeing someone else. Not everyone will be glad that you did. Members of your family and other critics may wish you had kept your secrets. Oh, well, what are you going to do?

If we are any good we must always be working towards the moment at which our Pupils are fit to become our Critics & Rivals

Some critics saw fit to say that I was a great actress. I thought that was a foolish, wicket thing to say because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry.

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.'

I know that the fact that I am candidate to my own succession in 2017 can be perceived to be a bad thing by some part of the public opinion outside Rwanda and I don't mind because I know that I am doing it for a good cause. It really doesn't matter to me that my name is associated to those critics as long as I know that I am doing the will of the people.

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.

It is good to see ourselves as others see us. Try as we may, we are never able to know ourselves fully as we are, especially the evil side of us. This we can do only if we are not angry with our critics but will take in good heart whatever they might have to say.

My play Safe Sex was picked apart because critics thought it was untrue. It was a play in which no one had AIDS, but the characters talked about how it was going to change their lives.

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.

Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don't like - then cultivate it. That's the only part of your work that's individual and worth keeping.

It is hubris, claim the critics of 'absolutism', to suppose that we could ever even approximate to a true description of how the world anyway is. It is bad faith or 'bullshit', respond 'absolutists', to suppose - as the rhetoric of postmodernism implies - that we could seriously live and act with the thought that truth and value are simply our own projections. An attractive feature of 'ineffabilism', as I see it, is that it evades these accusations.

There are conversations going on about the Church constantly. Those conversations will continue whether or not we choose to participate in them. But we cannot stand on the sidelines while others, including our critics, attempt to define what our Church teaches... We are living in a world saturated with all kinds of voices. Perhaps now, more than ever, we have a major responsibility as Latter-day Saints to define ourselves, instead of letting others define us.

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

Implementation of technological change must involve critics as well as advocates.

Do not be critics, you people, I beg you. I was a critic and I wish I could take it all back because it came from a smelly and ignorant place in me, and spoke with a voice that was all rage and envy. Do not dismiss a book until you have written one, and do not dismiss a movie until you have made one, and do not dismiss a person until you have met them. It is a f@*$%load of work to be open-minded and generous and understanding and forgiving and accepting, but Christ, that is what matters. What matters is saying yes.

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'd love to work on something that gets some type of critical respect. This business is sometimes so brutal - you work on something for months and really feel like the project is good and you're doing the best work you can, and then it just gets hammered by critics. It's such a bummer sometimes, because everything seems to build up to the release and a couple of bad reviews can make it seem like it was all a waste, which you know it wasn't.

Critics called me 'egregious' - I had to look that one up - and 'creepy', but now I don't read them, I weigh them.

There is nothing more common than critics of journalists accusing them of practicing journalism. It is our function in the world to take things that are complicated and render them in a form that non-experts can follow and make sense of.

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.

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.

I think women are excellent social critics.

Music critics think of lyrics first and don't consider melody but so many songs are lyrically depressing but musically great, and that's why they become classics.

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 really think there's a difference between how men critics see things than how women tend to. And I don't want to make that - it's not a generality and I don't want to say that, but I just feel - I know I do the same thing. There are certain things that I just am not that interested in. Certain kinds of films - I just don't enter them.

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 achieve respectability, to be admitted to the debate, they must accept without question or inquiry the fundamental doctrine that the state is benevolent, governed by the loftiest intentions, adopting a defensive stance, not an actor in world affairs but only reacting to the crimes of others...If even the harshest of critics tacitly adopt these premises, then the ordinary person may ask, who am I to disagree?

I do not put myself in a box and say, for instance, I'm writing post-colonial literature. I don't know what I'm writing. That's the business of professors and critics. My job is to tell a story, and that's it.

As the great naturalist Charles Darwin saw clearly, individual and collective interests often coincide, as in the invisible hand narrative. But he also saw that in many other cases, interests at the two levels are squarely in conflict, and that in those cases, individual interests generally trump. That simple observation suggests that market failure is often the result not of insufficient competition (the traditional charge from social critics on the Left), but of the very logic of competition itself.

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.

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.

No matter what happens, you're always going to have those critics and those haters. You just have to learn how to deal with that. I think I have and accept that.

I was given permission to serve myself Communion, with wine and a wafer, on the surface on the Moon. But I was advised not to say anything about it at the time. Someone had strongly objected to the Apollo 8 crew reading from the Bible. We didn't want to get into any further trouble with the religious critics.

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.

Still, as much as I wish Ballistic Kiss could be a better film, the recognition it gained from critics and at festivals speaks for itself.

People have described me as a management bishop but I say to my critics, Jesus was a management expert too.

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

If you don't have critics, you probably don't have success either.

I get a great laugh from artists who ridicule the critics as parasites and artists manqués — sucha horrible joke. I can’t imagine a more perfect art form, a moreperfect career than criticism. I can’t imagine anything more valuableto do.

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.

But you know, really, if you think about it Roger and I and all critics really have one absolute essential part of our credentials and that is that you believe that that is actually what we think.