Quotes About Critics

Immortality is a by-product of good work. Masterpieces are not for artists, they're for critics. Critics can't even make music by rubbing their back legs together. My message to the world is 'Let's swing, sing, shout, make noise! Let's not mimic death before our time comes! Let's be wet and noisy!'

I noted, though, that other strong critics of Donald Trump did attend the inauguration. Hillary Clinton went. Vermont Senator Bernie Sanders went. I saw Massachusetts Senator Elizabeth Warren. I saw Congressman James Clyburn, all of whom have been critics of Donald Trump.

I don't have any bone to pick with critics. In fact, if I wasn't a filmmaker I would probably be a film critic. Most of my bone is I would be a better film critic than most of the film critics I read.

Because Fox News is allegedly biased in favor of conservatives, critics whine like children whose lunch money got snatched. Conservatives have been pummeled for decades. Now that Fox News and conservative talk radio give people alternatives, critics squeal as if being sodomized.

The New Yorker's' drama critics have always had a comparable authority because, for the most part, the magazine made it a practice to employ critics who moonlighted in the arts. They worked both sides of the street, so to speak.

Does he have a double standard for black critics as opposed to white critics?

Of course, there are those critics - New York critics as a rule - who say, 'Well, Maya Angelou has a new book out and of course it's good but then she's a natural writer.' Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.

Book critics or theatre critics can be derisively negative and gain delighted praise for the trenchant with of their review. But in criticisms of religion even clarity ceases to be a virtue and sounds like aggressive hostility. A politician may attack an opponent scathingly across the floor of the House and earn plaudits for his robust pugnacity. But let a soberly reasoning critic of religion employ what would in other contexts sound merely direct or forthright, and it will be described as a 'rant'.

I think as you get older, you realize there's always going to be critics. Critics are going to win every time because they can change their critique based on the stats and their own personal feelings.

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.

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.

It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.

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

I attempt to write a good novel. Whether it is literature or not is something that will be decided by the ages, not by me and not by a pack of critics around the globe.

Reviewers and critics can be overly cynical. If something the least bit sentimental comes up, they'll often start flying off the handle. But I'm like, 'Wait a minute, you've had those times in your life. Everybody has.

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.

As a writer, its important to stay true to your story without giving a hoot about publishers, critics and readers. You should do your karma as an author the way you want to, and rest is up to God.

Does it take a blanket presupposition for a historian to discount some miracle stories as legendary? No, because, as even Bultmann recognized, there is no problem accepting reports even of extraordinary things that we can still verify as occurring today, like faith healings and exorcisms. However you may wish to account for them, you can go to certain meetings and see scenes somewhat resembling those in the gospels. So it is by no means a matter of rejecting all miracle stories on principle. Biblical critics are not like the Committee for Scientific Investigation of Claims of the Paranormal.

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.

I just think that the question of women in rock or women playing guitar, I just think it's such a non-issue, and I think that probably the sooner critics and press outlets can just erase the 'what's it like being a women in rock?' question from their vocabulary, the better off everyone will be.

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.

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.

Critics in New York are made by their dislikes, not by their enthusiasms.

Critics say that America is a lie because its reality falls so far short of its ideals. They are wrong. America is not a lie; it is a disappointment. But it can be a disappointment only because it is also a hope.

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.

If the men of wit and genius would resolve never to complain in their works of critics and detractors, the next age would not know that they ever had any.

I know all the critics.

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.

The stones that critics hurl with harsh intent, a man may use to build his monument.

I've got the public. I don't care about the critics. I did at one time. I don't any more. I did when I needed compliments. But if you get a lot of compliments, you don't need a critic to tell you, 'This should be done another way.'

Now see, a lot of critics are saying Arnold can't get elected because he's just an ambitious guy with a famous name, who doesn't know anything about running the government. Didn't hurt George Bush.

Of the modern critics, although I disagree with almost everything she says, I admire Mary McCarthy's eloquence and social observation in 'Sights and Spectacles'; she thinks in print, but she doesn't have a real feel for the stage.

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.

Critics must excuse me if I compare them to certain animals called asses, who, by gnawing vines, originally taught the great advantage of pruning them.

When shallow critics denounce the profit motive inherent in our system of private enterprise, they ignore the fact that it is an economic support of every human right we possess and without it, all rights would disappear.

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.

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

My biggest critics have never read me.

Take heed of critics even when they are not fair; resist them even when they are.

The thing about living in New York is that there are other artists; that is the most difficult, I think they are the hardest critics.

The critics tend to forget their own answers after a while

The elimination of horrible disease, the increase of the quality of lives (for humans and for animals) achieved through research using animals is so incalculably great that the argument of these critics, systematically pursued, establishes not their conclusion but its reverse: to refrain from using animals in biomedical research is, on utilitarian grounds, morally wrong.

Theatres, actors, critics and public are interlocked in a machine that creaks but never stops. There is always a new season in hand and we are to busy to ask the only vital question which measures the whole structure. Why theatre at all? What for? Is it an anachronism, a superannuated oddity? Surviving like an old monument or a quaint custom? Why do we applaud and what? Has the stage a real place in our lives? What function can it have? What could it serve? What could it explore? What are its special properties?

Critics or musicians who attack me are jealous of my success and the fact that I make people feel so happy.

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.

This is a landmark work in the history of African American studies and American intellectual history. Writing with verve, Jackson brings to life a large cast of characters and traces an ongoing conversation among the writers and critics of this period. This book is likely to become a model for a new generation of scholars, both for the breadth of its engagement and the depth of its archival research.

We're not trying to entertain the critics ... I'll take my chances with the public.

Silence is often the most eloquent answer to our critics.