Quotes About Critics

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'm a musician and, just as the critics are hard on me, I'm hard on the critics.

If you write for the critics, only the critics will read you.

I have been lucky that some critics joined the mob in loving something I've done, or in appreciating it. I've been lucky. But most of the critics don't like what the people like. I think they have a very strange job, and they are meant to criticize.

I am aware that many critics consider the conditions in the stars not sufficiently extreme . . . the stars are not hot enough. The critics lay themselves open to an obvious retort: we tell them to go and find a hotter place.

There's always been a lot of negative stuff written about me. That's why I don't pay any attention to the critics. They've never liked anything I've done. What do critics know? It's the way the audience reacts that matters.

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.

The critics say that Shostakovich's Fourth Symphony has no form. They are wrong; it has the form of Shostakovich's Fourth Symphony.

I don't want ever to be guilty of what my critics claim: doing formula without original elements.

Every time you start a project, you're hopeful that the critics receive it warmly.

When the critics come around it's always too late.

I think we're going to transition with our comedy programming, trying to broaden the audience and broaden what the network does. Those Thursday comedies, which the critics love and we love, tend to be a bit more narrow than we'd ultimately like, as we go forward.

We have been educated to such a fine - or dull - point that we are incapable of enjoying something new, something different, until we are first told what it's all about. We don't trust our five senses; we rely on our critics and educators, all of whom are failures in the realm of creation. In short, the blind lead the blind. It's the democratic way.

If my critics saw me walking over the Thames they would say it was because I couldn't swim.

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.

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.

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.

Critics write out of intellectual exercise, not poets. Poets write straight from the heart.

I don't like critics; I really don't like them. I think most of them are ignorant and don't have a clue!

But at 42, 1 don't care what critics think.

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.

Critics of Consequentialism have often assumed that hedonism (or preference-satisfaction) must be the theory of the good, that the deontic principle must be maximizing, and that the principle should be applied to individual acts. Indeed, this version is often called "classical utilitarianism" and attributed to Bentham and sometimes even to Mill. Rather than a "classical" view it is a recent construction foisted on to the tradition.

Anticipating attacks, I should like to emphasize that I do not subscribe to the myths propagated by enemies of Israel and I am not blaming Jews for anti-Semitism. Anti-Semitism predates the birth of Israel. Neither Israel's policies nor the critics of those policies should be held responsible for anti-Semitism. At the same time, I do believe that attitudes toward Israel are influenced by Israel's policies, and attitudes toward the Jewish community are influenced by the pro-Israel lobby's success in suppressing divergent views.

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.

The final outcome cannot be known, either to the originator of a new theory, or to his colleagues and critics, who are bent on falsifying it. Thus, the scientific innovator may feel all the more lonely and uncertain.

It has been said that Ernest Hemingway would rewrite scenes until they pleased him, often thirty or forty times. Hemingway, critics claimed, was a genius. Was it his genius that drove him to work hard, or was it hard work that resulted in works of genius?

Critics of Fox News have pointed out that Fox News does partisan propaganda, and there's ample evidence on a daily basis.

We must protect each other against the attacks of those self-appointed watchdogs of patriotism now abroad in the land who irresponsibly pin red labels on anyone whom they wish to destroy. ... [Academic professionals are the only person competant to differentiate between honest independents and the Communists.] This is our responsibility. It is not a pleasant task. But if it is left to outsiders, the distinction is not likely to be made and those independent critics of social institutions among us who are one of the glories of a true university could be silenced.

I thought it would fit a niche. I didn't anticipate, nor do I think anybody did, that it would become this global phenomenon, the way that it has. The critics have been so kind and favorable, it has really garnered such wonderful praise, and the numbers have been through the roof. It's actually been quite surreal. I'm still pinching myself because it's amazing. For me, we went to Atlanta and we spent our summer shooting this little zombie show, and it was ours. It was our sweet little zombie show [The Walking Dead], and the world has embraced us.

Every one of my opponents, every one of my critics, will tell you that I am a generalist spread far too thin in an age when this is not done anymore, when responsible knowledge is specialized knowledge.

I get out my work and have a show for myself before I have it publicly. I make up my own mind about it-how good or bad or indifferent it is. After that, the critics can write what they please. I have already settled it for myself so flattery and criticism go down the same drain and I am quite free.

Of course there are critics who believe that no matter what we do, the Florida dream is over. They claim that we must accept the idea that inevitably our future is one of high taxes and big government.

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.

An author ought to write for the youth of his own generation, the critics of the next, and the schoolmaster of ever afterwards.

Some critics of racing witlessly claim that spectators only attend to see someone die. This is utter and complete nonsense. I have been at numerous races where death is present. When a driver dies, the crowd symbolically dies, too. They come to see action at the brink: ultimate risk taking and the display of skill and bravery embodied in the sport's immortals like Nuvolari, Foyt, and thousands of others who operate at the ragged edge.

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.

Critics search for ages for the wrong word, which, to give them credit, they eventually find.

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.

Some critics are emotionally desiccated, personally about as attractive as a year-old peach in a single girl's refrigerator.

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.

I, along with the critics, have never taken myself very seriously.

I wish all critics, no matter their color, were more sophisticated when it comes to the moral questions a film like 'St. Anna' is trying to raise.

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.

The thing about having an audience right there laughing is that critics can write what they want, but the proof is right there in front of you.

Critics have never been able to discover a unifying theme in my films. For thatmatter, neither have I.

The great mystery to me is how restaurant critics think they can get away with doing their job without anybody noticing who they are.

All players are their own worst critics. We are harder on ourselves than anyone else is.

Critics have a job to do. They do not criticize you without reason.