Quotes About Critics

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.

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 British and American literary worlds operate in an odd kind of symbiosis: our critics think our contemporary novelists are not the stuff of greatness whereas certain contemporary Americans indubitably are. Their critics often advance the exact opposite: British fiction is cool, American naff.

Never surrender to cynicism, even if you suspect it would get the critics on your side.Never surrender to cynicism, even if you suspect it would get the critics on your side.

Most critics write critiques which are by the authors they write critiques about. That would not be so bad, but then most authorswrite works which are by the critics who write critiques about them.

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

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?

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.

What bothers most critics of my work is the goofiness. One reviewer said I need to make up my mind if want to be funny or serious. My response is that I will make up my mind when God does, because life is a commingling of the sacred and the profane, good and evil. To try and separate them is fallacy.

A work of art is an act of love. Critics are crab lice.

Mann is widely recognized as a master of irony and ambiguity, yet it's remarkable how quickly people foreclose options he carefully leaves open. Lots of readers - including eminent critics - jump to conclusions: that Nietzsche's Birth of Tragedy is a central background text, that Aschenbach is an inferior writer, that he's never been attracted by pubescent male beauty before, that he dies of cholera.

If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it.

Critics are entitled to have an opinion, but how can they judge how comfortable a building is? No critic is smart enough to judge how a building will perform over time.

If critics have problems with my personal life, it's their problem. Anybody with half a brain would realize that it's the charts that count.

The world still awaits a proper inquiry into climategate: one that is not stacked with global warming advocates and one that is prepared to cross-examine evidence, interview critics as well as supporters of the CRU and other IPCC players, and follow the evidence where it clearly leads.

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.

Cynics and critics wake us up. Kindness often covers up the truth and allows us to sleep on in our ignorance.

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 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.

I have always noticed that when people consider others eccentric, it is because they are reveling in some form of enjoyment that their critics can neither compass nor share.

I've always had to prove myself to people growing up. I had to show them that I could do this and I could do that and paying no mind to what the critics said.

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.

Several of my critics have said, 'Bowerman just tacks up a piece of paper in the locker room and turns his runners loose.' They're partially right. I do give the athletes a relatively free rein and for good reason. One of my principles is? 'Don't overcoach.'

I often think people don't know what to think of me, and in fact this is precisely the objective of many of my creations. Even back in the days with Lady Starlight, my original partner, we aimed to bemuse. This feeling of bemusement - it's neither good nor bad. It just is. Whether critics realize it or not, they've been in a very long argument since my public birth.

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

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

The critics had an image of me, and they wouldn't accept any other... I was a cartoon character. A joke.

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.

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.

Movies, far more than the traditional arts, are tied to big money. Without a few independent critics, there's nothing between the public and the advertisers.

I don't expect that the scientific community now embraces and kisses me 'Oh wonderful, great you did!' we have to live with critics, this is normal. Chariots of the Gods was full of speculation, I had 238 question marks. Nobody read the question mark. They always said: Mr. Von Daniken is saying... I did not say, I asked the questions, would that be a posibility? In Chariots of the Gods, I made clear difference between a speculations and facts.

Critics of art are like eunuchs in harem. They see how it's done when the men come to see the women, but they can't do it themselves.

When critics or art historians or curators ask me why I still paint, the answer is that I am not naive.

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.

Somehow I wasn't completely crucified by the critics. I don't know how or why, I probably should've been.

There is no virtue in being uncritical; nor is it a habit to which the young are given. But criticism is only the burying beetle that gets rid of what is dead, and, since the world lives by creative and constructive forces, and not by negation and destruction, it is better to grow up in the company of prophets than of critics.

Publishers, theatrical managers, and critics ask not for the quality inherent in creative art, but will it meet with a good sale, will it suit the palate of the people? Alas, this palate is like a dumping ground; it relishes anything that needs no mental mastication. As a result, the mediocre, the ordinary, the commonplace represents the chief literary output.

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

So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards - well, you have no control over that.

A lot of critics object to what I do, but I got into comedy to make people laugh, and I've always worked hard.

Many critics speak about coming-of-age love, about initiation, about young libido, and so forth. I've never seen it only this way. We continue to examine things ever so minutely, we interpret obsessively. We may be less bold at 40 than we were at 17, but we're familiar with the road map; we know the bumps in the road; we recognize the sudden turns, the one-way streets, and the dead ends. And we are hurt just the same as when we were teenagers.

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

Apropos, is not the Scotch phrase 'Auld Lang Syne' exceedingly expressive? I shall give you the verses on the other sheet. The words of 'Auld Lang Syne' are good, but the music is an old air, the rudiments of the modern tune of that name. ... Dare to be honest and fear no labor. ... Opera is where a man gets stabbed in the back, and instead of dying, he sings. ... Chords that vibrate sweetest pleasure thrill the deepest notes of woe. ... Critics! Those cut-throat bandits in the paths of fame.

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 notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.

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.

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.